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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 :)

Telecine

Ohhhhhh. "REDCINE" . . . I get it!

Thanks for that insight, Stuart. I never picked up the analogy--I'm liking it.

I think that helps explain what to expect from REDCINE for people who ask, "Can I use REDCINE instead of Lustre or FCP?"
 
Boothba said:
Question for Lucas:

Can you hook an external hard drive directly up to SCRATCH? Now that would save some major time. When we were running Lustre we were moving data over our company network which was as slow as molasses.

I'm sure you could offer some potent incite into this little debate I'm having with myself.
Click to expand...

Hi Boothba,

The short answer is "yes." SCRATCH does not need any kind of proprietary storage or files to work. You can hook up a hard drive directly to the system and start working.

Lucas
 
luki said:
I should also add... SCRATCH will natively support REDCODE... ;)
Click to expand...

Does that include REDCODE RAW? And if so will it have access to the full information stored in that RAW data? ie would it be possible to go into a SCRATCH online with a drive full of REDCODE RAW files and a RED Pull List/EDL, bypassing REDCINE entirely, and be able to do a full primary and secondary grade?

That would be immensly useful to those of us who want to do HD onlines in-house, but if a 4k finish were called for could go to a big facility with a SCRATCH system, without needing to spend time in REDCINE first generating and then transferring huge files.

Nick
 
Cutting out the tape from digital workflow is great, I'm all for it, and cutting out the telecine process has it's benefits too, but the only negative I see in all this is the idea that somehow, if the budget is tight, people will take it upon themselves to grade their own projects, and we may be flooded with a lot of really crappy looking projects because of this. Being a colourist is a pretty specialised skill, and not many people have the temperament, or the talent to do it well, and with any degree of subtlety.

It's like the democratisation of desktop publishing - everyone CAN do their own design suddenly, but that doesn't mean they are any good at it.

So great stuff, new tools, cheap as hell. It'll benefit all of us, but benefit people that use it wisely the most, it will.

That's what yoda told me.

R.
 
luki said:
I should also add... SCRATCH will natively support REDCODE... ;)

Lucas
-----
Assimilate, Inc.
Los Angeles
Click to expand...

Holly crap! There's your answer boys. The big, big, BIG deal (until now) was the issue of converting REDCODE RAW to uncompressed image sequences like TIFF or DPX @ 10 or 12 bit (which ups your data X 10) simply to get it into a system like Lustre or Smoke.

Major kudos to Lucas and SCRATCH for making this move. Based on this info alone I wouldn't hesitate to put SCRATCH at the very top of the list of color correction options. (I'm about to be fired as I kinda work for the competition, he he... but my old boss worked for Assimilate so I guess it's OK.)
 
Lucas hasn't answered my question about if that means REDCODE RAW or just REDCODE RGB. REDCODE RAW (in it's true RAW state) is the big deal, as any application that supports Quicktime will support REDCODE.

NDA?

Nick
 
Nick Shaw said:
Does that include REDCODE RAW? And if so will it have access to the full information stored in that RAW data? ie would it be possible to go into a SCRATCH online with a drive full of REDCODE RAW files and a RED Pull List/EDL, bypassing REDCINE entirely, and be able to do a full primary and secondary grade?
Click to expand...

SCRATCH will support REDCODE RAW...

As Jim has said many times, we're learning and moving forward every day. Other details will emerge as the process evolves!

Lucas Wilson
------------
BOO!!! (a Red Scare, by the way)
Assimilate, Inc.
Los Angeles
www.assimilateinc.com
lucas*at*assimilateinc*dot*com

 
This is huge news... this kind of simple direct integration into a preexisting major workflow is invaluable for high-end production. The ability to shoot RED and work straight into a bleeding-edge workflow without having to purchase new equipment or having to re-learn a piece of software is just making my day.
 
Ruairi Robinson said:
...people will take it upon themselves to grade their own projects, and we may be flooded with a lot of really crappy looking projects because of this. Being a colourist is a pretty specialised skill, and not many people have the temperament, or the talent to do it well, and with any degree of subtlety.

It's like the democratisation of desktop publishing - everyone CAN do their own design suddenly, but that doesn't mean they are any good at it.
Click to expand...

When editing left Steenbecks and went to Avid, all of a sudden, everybody could edit. Yet Walter Murch, Stephen Morrione, and Pietro Scalia keep winning the awards.

This happens constantly in artistic industries. In the end, talent is always the final arbiter.

Lucas
 
Boothba said:
Question for Lucas:

Can you hook an external hard drive directly up to SCRATCH? Now that would save some major time. When we were running Lustre we were moving data over our company network which was as slow as molasses.

I'm sure you could offer some potent incite into this little debate I'm having with myself.
Click to expand...


I can't understand how your company can spend so much on a Lustre system, yet have a slow network.

With the proper SAN config, you should be doing 2k realtime playback with Lustre
 
Thomas Mathai said:
I can't understand how your company can spend so much on a Lustre system, yet have a slow network.

With the proper SAN config, you should be doing 2k realtime playback with Lustre
Click to expand...

Oh realtime 2K playback is no problem once the footage is in the Lustre system. The problem was moving the DPX files from point A of our company network to point B. Our film scanners and recorders are on one floor, vfx on another, discreet on another, etc. My point is that anything less than realtime is unusual for an SD/HD telecine, which is basically what we were using Lustre for at the time. We have another Lustre dedicated to feature work which is more isolated and is rockin' & rollin' - booked solid.

This week they just installed a new 2K/4K Spirit which has a high speed GSN (Gigabyte Systems Network) optical data output which should be considerably faster. It just arrived, so I'll have to look into that option more closely. Spirit is now happily trumpetting their ability to scan 8-perf VistaVision, so something tells me their head is not yet totally immersed in pure data-acquisition. Maybe they should walk accross the hall and talk to the Viper boys to figure out some streamlined data-grading strategies.

My currenty question is where do you ingest, if your source is data not neg or tape? How much and how fast? I'll have to do some digging here.

NOTE: I'm not a colorist so aside from water cooler chit-chat, I'm not extremely telecine-ely...ely well informed. And frankly, right now 99% of our clients shoot on film or tape (or P2 stuff which is dumped to tape) so I don't know how much R&D has been put into data-specs the likes of RED. Aside from the odd IMAX job (which is scanned in LA and delivered of DLT) nothing really comes close.
 
Boothba: may I ask what you do at the company?

The Quantel guide (although heavily focussed on their products) has some diagrams for digital acquisition. Basically it's the same as film. Big SAN solution with high throughput (fiber) networks. Depending on how much data is traveling around (ie, how many projects are worked on at the same time) you want to segment your network or have multiple networks.

http://www.quantel.com/site/en.nsf/html/library_diguide
 
luki said:
Estudios Mega, Link Digital, & Labo Cine are already customers.

Lucas Wilson
------------
Brasil e com "S."
Assimilate, Inc.
Lucas
Click to expand...

Really? Cool! I'm going to do some research around here, but if my calculations are right, you just gave me a hell of a reason to place my order for red the next 3 day period...
 
Rob Lohman said:
Boothba: may I ask what you do at the company?

The Quantel guide (although heavily focussed on their products) has some diagrams for digital acquisition. Basically it's the same as film. Big SAN solution with high throughput (fiber) networks. Depending on how much data is traveling around (ie, how many projects are worked on at the same time) you want to segment your network or have multiple networks.

http://www.quantel.com/site/en.nsf/html/library_diguide
Click to expand...

Hi Rob. I'm an Inferno artist and commercial fx supervisor at Technicolor in Toronto, although I'm not very tech savvy and have only recently begun to re-educate myself about the new possibilities of extreme data-workflows. To be honest I've been stuck in a sort of tech-bubble for a few years as we have a good engineering staff who keep us crazy artists at arm's length from technical side of things (no super-user status for me!). But I'm very excited about the new possibilities of data and ultimately hope to set up a good home system as my RED base, so that I am not so reliant on the good graces of my bosses.

Funny you mentioned Quantel, as I was a Quantel operator on Henry, Hal and Domino for about 8 years, but turned to discreet at around the time IQ was beta testing. I'll definitely have a look at that article.

Cheers. :)
Alex Boothby
 
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