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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

REDRAY Comments

[FONT=Tahoma, Calibri, Verdana, Geneva, sans-serif]@Jon Farhat
Is there a system in place at launch for BBFC certification, and regionally cut and classified movies?

Also for the [/FONT]benefit of [FONT=Tahoma, Calibri, Verdana, Geneva, sans-serif]everyone else , BBFC (uk classification board) is compulsory for UK cinema screenings and costs £700+[/FONT]
 
Is the redray for preorder for theater use as well as the home?
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This unit is the standalone player and can be used in a wide variety of applications. In addition there are two laser projection systems - REDRAY Projector (consumer) and CRIMSON (theatrical); both of which include the same REDRAY 4K 3D engine, that will be formally introduced later.

Am I right is assuming that the redray is 60fps 2d and 30fps 3d?
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Actually no, a single REDRAY can provide video at 4K 3D at up to 60 fps per eye... whether your specific display can accept that will differ by manufacturer and model.

Can we see the remote please :)
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Do you have an i-phone, i-pad or i-pod ? :-)
 
Can we see the remote please :)


Do you have an i-phone, i-pad or i-pod ? :-) CLASSIC!!!! RIGHT ON
 
Dan Frenkel said:
Can we see the remote please :)


Do you have an i-phone, i-pad or i-pod ? :-) CLASSIC!!!! RIGHT ON
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There is also a very simple IR remote controller ...

... but 802.11 / Ethernet is clearly where the future lies as it allows full integration with other apects of control / automation.
 
Well I guess I will have to reserve judgment till I can see it projected...I just don't want the image to be crippled in any way before the sell job begins.

For so many years HDcam codec was 8-bit 4:2:2 and it was 'good enough'...and indeed it still is in this country for a couple of broadcasters (by and large it's HD SR as the required deliverable). I'm sure everyone at Red has thought long and hard about what the data rate and bit depth ought to be along with the compression scheme -there's a trade off happening in exchange for such a low data rate. Perhaps in the future once .red takes hold as the 4K standard there will be an equivalent 'SR'.
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Everything above is very reasonable based on past experience, but as for the assumed "trade off" - well you'll just have to come and see for yourself.

Our stated 12-bit 4:2:2 or 8 bit 4:4:4 output spec is actually the technical spec of the HDMI 1.4 standard at 4K and Ultra HD resolution...

... the actual .RED codec performance exceeds that.
 
Jeremy Torrie said:
Well I guess I will have to reserve judgment till I can see it projected...I just don't want the image to be crippled in any way before the sell job begins. ...
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I think I read somewhere that RED was using an early implementation of the .RED codec at last year's NAB. If so, I was at NAB and what I saw projected at RED was pretty damn impressive!

___________________________________
Scarlet X # 1859 “Bettie Page”
“… preparing to ‘whip’ the competition …”

Zeiss Lenses:

CY 21/2.8
ZF 28/2.0
CY 35-70/3.4
CY 50/1.4
ZF100/2.0

Nikon Lenses:
G 14-24/2.8
G 24-70/2.8
D 80-200/2.8

Tokina Lenses:

11-16/2.8
 
Stuart English said:
...Our stated 12-bit 4:2:2 or 8 bit 4:4:4 output spec is actually the technical spec of the HDMI 1.4 standard at 4K and Ultra HD resolution...

... the actual .RED codec performance exceeds that.
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But, those are the very same specs listed on your website for the RR. How come .RED "exceeds that"? Can you elaborate, please?
 
Luis Otero said:
But, those are the very same specs listed on your website for the RR. How come .RED "exceeds that"? Can you elaborate, please?
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We can only output what the HDMI format allows us to - i.e. 12-bit 4:2:2 or 8-bit 4:4:4 when we are talking about 4K resolution.

i.e the signal path in the .RED codec is higher resolution than that, we have to downsample to those allowed output bit depths.

This is one of the key reasons our RREncoder allows 16-bit TIFF as an input file format.....


There is a similar explanation with regard to why the specification for Color Space is REC 709....
 
HDMI 1.4 only supports up to 24 fps, right? So in order to get faster framerates the 4 HDMI 1.3 jacks will need to be used?

If/when a new type of display connector is available that is more suited for 4k (e.g. HDMI 2.0) do you plan to allow people the option of sending their box in for an upgrade?
 
So, do you consider this acceptable for D-Cinema projection?
 
12 bit 4:2:2, I assume, right? I mean, the 8 bit banding is not pretty for cinema...
 
So, if HDMI specs is what is constricting the ability to output a 12 bit 4:4:4 RGB, which will be ideal for D-Cinema, why was this output selected, as opposed to HD-SDI? I am a bit confused about what is driving this...
 
Great question Luis...I imagine it's due to corresponding inputs on those TV's that will be receiving the signal, and if RedRay in its current incarnation is meant for mass distribution to win over the masses, then simplicity is the key.

None of the specs I've seen on any of the consumer 4K sets -Sony, LG or Toshiba have stated anything other than inputs and resolution. But something such as dual HD-SDI for 12 bit 444 would be a great addition...I'm sure there's a prototype somewhere at Red!
 
Stuart English said:
Yes that will be availble soon, but iOS support comes first.
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And since the code is open... Basically any device could control the RedRay.
By the way, Stuart, you shoud probably also make available the IR codes so they can be saved in smartphone including IR emitter (like Galaxy Note 2 if i'm right)
 
I mean, If this is intended for serious D-Cinema distribution, a 4:4:4 output should have been part of the design. And I am not trying to say that Red is not serious about this; do not get me wrong. But after acquiring such a high level of cinematic image, and not offering an output solution that matches such specs.... It does not make sense. Maybe I am missing something.
 
Luis Otero said:
I mean, If this is intended for serious D-Cinema distribution, a 4:4:4 output should have been part of the design. And I am not trying to say that Red is not serious about this; do not get me wrong. But after acquiring such a high level of cinematic image, and not offering an output solution that matches such specs.... It does not make sense. Maybe I am missing something.
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This is the home version. Cinemas will use REDRAY Pro as I understand it. Also, the RED projector that's for home use will have a built in REDRAY player so I'm guessing since an HDMI connection isn't required the quality may be higher.
 
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