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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 :)

Sky Sports filmed Arsenal @ the Emirate in 4K

Because of its huge audiences who appreciate dynamic visuals, and commensurately large budgets, sports production has always been the key driver for image advancements and technology in the television industry. In this case Sky tested out two cameras - Sony F65 and Canon C500 - but curiously they didn't test an Epic. Later in the article it notes that they're looking to get higher frame rates, and consider 120 fps to be optimal for sports shooting. Someone should tell them that Epic will shoot their desired 120fps at 4K ;)

Their future testing should also include Epic cameras. Epic and even Red One have been used extensively in mobile (non-hardlined) sports production. Now Red's new Meizler module also enables much easier hardlined (truck or studio switched) sports production.
 
For HD 3D, they use the Panasonic side by side units for the steadicam guys due to weight......it'll be interesting to see if they ad Red into the mix when testing 4K......will 50P be the standard with 120FPS <> 300FPS played back at 50P for the slo-mo's?
 
The article doesn't mention that they were testing in 3D. Were they?

Sure, 50p could be used on Epic for European television productions, with much higher frame rates for slow motion playbacks. Isolation cameras for roll-in of slo-mo footage could also be shooting at those higher frame rates for native slo-mo playbacks.

A parallel rigging for sports 3D shooting is by far the most common. But for wide angle 3D shooting on the sidelines, etc., a small, mobile beamsplitter rig is what's needed. Our company, Golden Gate 3D, would be happy to team up with Sky Sports for 3D testing of Epic. We own multiple Epic cameras, and mount them on our Screen Plane 3D rig, although we've also used a Genus Hurricane rig for some of our 3D work. Our Epic Screen Plane 3D rig using Canon or small Zeiss primes only weighs a total of 32 pounds - very easy for a Steadicam operator to fly around for any kind of production, including wide angle sports shots. Myself and some others on our GG3D team have very extensive sports television production experience.

There's a link to the Golden gate 3D web site in my signature below.
 
Sky did have an epic there because I was shooting it. Infact I was shooting on the longest lens in the test. I am waiting for the pictures to be cut together and once they are I will be invited in to view the results and compare the various formats.

i will post once I have seen the results
 
That's great Giles...and thanks for posting in on this thread.

Was it 2D testing or 3D testing?
 
But, but... 4k live is different thing than recoding to red mags, or no?
It would be possible to shoot on multiple like 10 cameras started with a minute in between and broadcast with a 10 minute delay or such. then swapping SSD's and putting them into a array of SSD readers and line up the clips from all camera accroding to time code an make a small software cutting in between the 10 different feeds.

RED almost Live straight from SSD mags :)
 
It was 2D. I was shooting 5k 50fps on a 150-600mm lens. I have to say the other formats gave a good account of themselves. The Sony camera looked like a bedside cabinet with a PL mount! Awesome pics though. C500 looked interesting, coupled with a codex recorder. At the test the firmware wasn't available to shoot 50fps. I am really looking forward to seeing how my epic stacked up!
 
Thanks for that added info Giles. Sounds like it was an interesting production to say the least!

The Canon 150-600 would be a very good lens on Epic for that. I own a stock Canon FD 150-600 (with a Century PL mount conversion), and I've absolutely loved the lens for sports and wildlife shooting.

Yes, please post up any additional info and your impressions of the results when you are able ;)
 
Bjorn,

Yes a delayed 4K airing would be possible. With Epic cameras my feeling is that it won't be long before the Red Meizler modules will be able to send realtime 4k wireless of raw 4k and/or some other 4k proxy formats. I believe the Meizler module can currently send 1080p uncompressed at 5Ghz, with 2k 4:4:4 wireless capability to be added in sometime in 2013. With time code sync capability and wireless audio already a feature of Meizler via Syncmaster, Epic has already become a potent tool for live wireless 1080p production. IMO with Red's emphasis on 4k as the future standard, and Red's intentional inclusion of EFP friendly features in Epic and now the Meizler module, it naturally follows that 4k live switching for EFP applications must be on Red's radar.

A few years ago I was a DP and stage front cinematographer for a 10-Red One camera production of the classic rock band Journey live in concert in Manila, Philippines. The cameras were hardlined for live switching from the control room to an iMag giant screen behind the band on stage. But each camera also recorded to Red Drives so the program could then be edited in post for airing on Palladia and VH1. A Meizler module would have been amazingly useful for that production!

When the Meizler can send 4K wireless it will open up a lot of live 4k production with Epic cameras...
 
Hi Bjorn and Steve,

I have integrated my epic workflow into a live OB with a delay almost as you suggest. I networked a mac with Red rocket into a live OB at the this years FA cup final and had runners taking my ssd's back and transcoding with the pro-res files landing straight into the EVS for immediate playback. This allowed a very quick turn around of shots to build a unique look to the build up of the show.

In addition I specialise in online broadcast delivery. I have developed a system with my business partner which allows you to upload and share streaming files with the full HD downloads attached. We are currently stress testing the sh*t out of it but have started streaming 4k over the system and are refining this technique. In addition we are the only company in the world to have the ability to encode while you upload which shaves so much time on this style of delivery.

Have a look www.quixel.tv

Speak soon
 
Thanks for that information Giles...some very interesting solutions. I very much like your creative Epic date workflow solution for the FA cup final. Quixel looks really promising too. Please keep this forum posted on your further developments in these areas.

Cheers
 
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