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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 :)

Scarlet and Epic updates...

Steve has not had issues with heat, but, during the shooting of our feature here in Kansas last summer, we had nothing but heat problems. Every day. Both cameras were constantly overheating and we'd have to rig ice packs on top of them to keep them in operation at all.

I am not complaining about my REDs. . . I really like those beasties. . . what I DO want to make certain happens is that, as new technologies arise, the R1 is "brought up to spec," as it were, on a regular basis. At our expense, of course.

Like I said, we'll undoubtedly make the transition to Epic just as soon as #791 and #1256 get their numbers called. And, I have no doubt, we'll buy at least one Scarlet, as well.

What I would like to see in new Epic features is a seemless vehicle for 3D work that allows one camera to become the master and the second to become the slave and a cheap, clever mounting device for both cameras.

AND, FOR CRYING OUT LOUD, GIVE US AN AES DIGITAL AUDIO INPUT ON THIS CAMERA! I'm tired of having to make apologies to sound techs about the audio in the RED One.

Stephen
 
Stephen Pruitt said:
Steve has not had issues with heat, but, during the shooting of our feature here in Kansas last summer, we had nothing but heat problems. Every day. Both cameras were constantly overheating and we'd have to rig ice packs on top of them to keep them in operation at all.

I am not complaining about my REDs. . . I really like those beasties. . . what I DO want to make certain happens is that, as new technologies arise, the R1 is "brought up to spec," as it were, on a regular basis. At our expense, of course.

Like I said, we'll undoubtedly make the transition to Epic just as soon as #791 and #1256 get their numbers called. And, I have no doubt, we'll buy at least one Scarlet, as well.

What I would like to see in new Epic features is a seemless vehicle for 3D work that allows one camera to become the master and the second to become the slave and a cheap, clever mounting device for both cameras.

AND, FOR CRYING OUT LOUD, GIVE US AN AES DIGITAL AUDIO INPUT ON THIS CAMERA! I'm tired of having to make apologies to sound techs about the audio in the RED One.

Stephen
Click to expand...

I don't doubt the heat problem, I just have never experienced it first hand. Stephen, how hot was it in Kansas for these shoots? I would say the hottest conditions I've had it in were about 95º. So, it's possible I just haven't exposed it to the worst heat yet and maybe I will see this problem when I do.

I don't know any camera that takes AES signal in. If there is one, I missed it along the way. I would welcome this feature if it could be implemented, but I don't think Red did anything necessarily wrong here. There are some issues with using AES, not the least of which is you have to provide good reference sync for it. I think it's probably a bit more complicated than it seems to be able to do this in camera. I'm sure not impossible.
 
Jim, how about a little teaser (screen grab) of a section of the new scarlet and epic.
 
Hi Steve. . .

We were shooting every day indoors in 95 to 100 degree temperatures. (And, yes, it was very unpleasant. . . I, personally, lost 27 pounds on the shoot.) And, after about an hour of shooting, we'd get the dreaded "too hot" idiot light and then have to strap a couple of ice packs on top to keep them from roasting away to nothing.

There can't be any issues with AES digital audio that are any more difficult to handle than normal synch sound. Indeed, it should be vastly easier to effectively implement, as I do so every day in my home recording studio. Since there would therefore only be one AD converter involved, the latency issues are reduced even further than usual.

Stephen
 
Add estimated/detailed information on the delivery date, please.
 
stevesherrick said:
I don't know any camera that takes AES signal in. If there is one, I missed it along the way. I would welcome this feature if it could be implemented, but I don't think Red did anything necessarily wrong here. There are some issues with using AES, not the least of which is you have to provide good reference sync for it. I think it's probably a bit more complicated than it seems to be able to do this in camera. I'm sure not impossible.
Click to expand...

if i remember correctly the F900R does.

regards,
martin
 
fde101 said:
What ever happened to the RED Two?
Click to expand...

Nothing happened to it. RED two was just a figment of some peoples' imaginations.
 
Stephen Pruitt said:
Hi Steve. . .

We were shooting every day indoors in 95 to 100 degree temperatures. (And, yes, it was very unpleasant. . . I, personally, lost 27 pounds on the shoot.) And, after about an hour of shooting, we'd get the dreaded "too hot" idiot light and then have to strap a couple of ice packs on top to keep them from roasting away to nothing.

There can't be any issues with AES digital audio that are any more difficult to handle than normal synch sound. Indeed, it should be vastly easier to effectively implement, as I do so every day in my home recording studio. Since there would therefore only be one AD converter involved, the latency issues are reduced even further than usual.

Stephen
Click to expand...
Interesting. And this was using the mode that keeps the fans running until you go into record correct?

You're right about AES. I've used it in my post audio work for years with Pro Tools, and my 744 has it ready and able. I was just wondering if there's something internal to the Red that it might not be easy to implement. And, I forgot about the F900R having it as someone just pointed out. We'll have to wait and see what Epic offers in this regard.
 
Steve. . . yeah, we were using the silent when recording mode and "high when not" mode on the fan. It just couldn't handle the heat at all. Both cameras registered heat issues, so it wasn't just an overactive temperature sensor.

I REALLY want that AES. I've got the 788T and, as you note, we are ready to rock with an AES audio cable out and then right into the RED. We can use our state-of-the-art preamps and forget the RED's audio section entirely, all the while enjoying synched sound.

How I hope they are listening.

Stephen
 
martinnoweck said:
if i remember correctly the F900R does.

regards,
martin
Click to expand...

There is a new AES42 standard for direct connection of digital mics or mixers to an XLR input with phantom power where the camera would provide word clock and sync.
 
David Rasberry said:
There is a new AES42 standard for direct connection of digital mics or mixers to an XLR input with phantom power where the camera would provide word clock and sync.
Click to expand...

Ah, that makes sense then. So, this is how they deal with word clock and sync.
 
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