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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 : No Clean Feed from HDMI?

I'm slightly unclear on a few things.

1. Can the HDMI clean output be enabled while using the LCD for menus? That manual diagram seems to indicate that.

2. I currently shoot with a 'toy' Canon HV20 tethered to an Intensity card to bypass the mpeg compression and get full 1920 x 1080 instead of the lesser HDV output. This does have some advantages in terms of speed and ability to immediately review what I've shot.

If I'm recording at 4K, what's coming out of the HDMI?

Is the the same field of view as the 4K, but lesser quality?

If I didn't need to crop, is it 'acceptable' quality (as if I were shooting at 1920 x 1080 from a high quality camera)?

I'm sure I would I get better quality by using the 4K especially for keying, but ... nice to know if the 1920 x 1080 would be available for something quick and dirty?

Thanks!
 
1. Yes.

2. You'll get full-debayer 1080p. That means the video coming out of the HDMI or HD-SDI port will be comparable to (probably even better than) 1920x1080 from a high quality camera. The reason I say it might actually be better than video from a dedicated 1080 camera is because of the higher dynamic range and the fact that the Scarlet outputs a true progressive signal, no pulldown/telecine or anything of that sort.

HOWEVER, you will not be recording RAW, which means that the image you see on the LCD is the image you get. You have to make sure your white balance and exposure are set properly in camera, and you'll want to choose the appropriate colorspace and gamma before you record. This differs greatly from recording RAW internally onto an SSD (you can adjust all of these settings in post), but is actually quite similar to most video cameras.

Of course, if you're just using these externally-recorded files for an offline, none of those things really matter as you can always just reconnect to your R3Ds (or other files you generate from RCX) when you do your online. Same goes for just using your external recorder for on-set playback.
 
No problem, Les :)

Thanks for the link--that's something I'm interested in as well, as I'm thinking of transitioning from FCP7 to Premiere Pro in the near future. I'd know how to do it in Final Cut (if Final Cut supported .r3d's...), so I'm sure there must be some way in Premiere.
 
OK, I read farther into the appendices and Appendix D at the end, p. 161 (v. 2.0.2) or 164 (v.2.0.5) matches the info in the menu map, i.e. all output options are available from HDMI and HD-SDI. The Appendix says the HDMI default is Preview (with menus) and the HD-SDI default is Program (clean). The info I read earlier from p.14 made it sound like those defaults were the only options.

As far as the concern about menus automatically showing up in HD-SDI and HDMI unless the touchscreen or RedMote are controlling the camera, is that based on experience? Because I couldn't find anything in the manual that would indicate that must be the case. The manual does say the menus automatically display in the HDMI (or can be switched to the HD-SDI) when an LCD or EVF is not attached. However that's very different from saying menus automatically show up and make a clean feed impossible.

Anyway, everything I've written is just based on reading the manual. (BTW, the 2.0.5 Scarlet manual on p. 14 still says HDMI and HD-SDI can work at the same time ).

If people with Scarlets in hand can check some of these points of confusion that would be greatly appreciated.
 
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Alexander Waldman said:
No problem, Les :)

Thanks for the link--that's something I'm interested in as well, as I'm thinking of transitioning from FCP7 to Premiere Pro in the near future. I'd know how to do it in Final Cut (if Final Cut supported .r3d's...), so I'm sure there must be some way in Premiere.
Click to expand...

Considering it looks like Apple may retire the MacPro - and they've already effectively killed FCP (I heard on fxGuide podcast that FCP X was supposed to be Express, but released as 'Pro' at the last minute), I voted with my wallet and won't be buying anything from Apple anymore. Nice to be able to get any video card I want on Win7, but I'm in for a learning curve hit.
 
+1 Share that, no support for Red files from Apple yet. Apple Macs Pros phasing out . Avid MC 6 still non resolution independent timelines & loosing lots of money & staff. It seems Premier 5.5 is the way to go. I was wondering if i could hang out for 6 ( release next year sometime) but I should have the Scarlet before then ;)
 
Hey guys, it seems quite a few of you are going to be recording externaly. Do you have some examples of where that will be beneficial? Someone at our work has offered to get us a recorder for our R1 and we are trying to think of where we would need it. This is a serious question and not intended to stir the pot. If you have a link to direct me, that would be great as well. Thanks guys, may our scarlets swiftly ship.
 
Nicholas Davis said:
Hey guys, it seems quite a few of you are going to be recording externaly. Do you have some examples of where that will be beneficial? Someone at our work has offered to get us a recorder for our R1 and we are trying to think of where we would need it. This is a serious question and not intended to stir the pot. If you have a link to direct me, that would be great as well. Thanks guys, may our scarlets swiftly ship.
Click to expand...

I doubt I'd use it for the final product, unless trying to do a quick project for very low cost, but ... there are some advantages to being able to record and then immediately go into the room where the computers display on large monitors and be able to check the performances, while being able to position the timeline using a mouse.

There are also advantages to checking the sound, have it played thru read studio monitors, and verify that everything is working well and that no outside sounds that weren't noticed messed up a take.

I suppose that with it recorded like that, there's also one more backup, in case something goes wrong (even if it is lower quality, as I'd guess 4K will be the main recording mode).
 
Nicholas Davis said:
Hey guys, it seems quite a few of you are going to be recording externaly. Do you have some examples of where that will be beneficial? Someone at our work has offered to get us a recorder for our R1 and we are trying to think of where we would need it. This is a serious question and not intended to stir the pot. If you have a link to direct me, that would be great as well. Thanks guys, may our scarlets swiftly ship.
Click to expand...

Aside from a feature with about a $500K budget I'm supposed to shoot, at 4K on Scarlet, I also have corporate clients who love the look of RED, and of course the buzz which surrounds it too. But they MAY not always have the time, equipment, or expertise to properly handle RED raw. So giving them many of the benefits Scarlet will offer, like wonderfully detailed image with near film-like latitude, recorded at high bit rate but 1080p in a codec they might better handle, is a vital advantage in a competitive field. Also, assuming my Convergent Design Nanoflash will record HD-SDI out of the Scarlet, I can use the Nanoflash to create files for dailies, or offline cuts. It's a very, very useful function in a field where you must balance the performance of the camera with the needs of paying clients.
 
Thanks guys that makes sense, especially with casting auditions or something like that. Up until now, for lower budget jobs we have been using dslr's in place of the R1. Now with the scarlets portability, i could see using It on budget jobs or quick turn projects with a recorder. Saving time lighting from the wider latitude while being as portable as a dslr. Sounds like a good idea.
 
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