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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 :)

THE GREATEST CAMERA EVER!!!!!

Commercial reality

Commercial reality

Tim,

Even if the new Mac Pro was able to play R3Ds in real time (that would be awesome) the reality is that post facilities are not going to throw away their existing hardware. Over time these new machines will replace older towers but it will be years and by the time everybody has these machines Red will have released their Epic replacement. Post facilities will be reluctant to change out towers just to deal with Red footage when all the other camera formats play. Look at the lack of penetration of the RR card.

I deal with the whole gamut of clients from TVC to Network TV to corporate and they all have different needs. It is rarely the camera Dept. determining the post workflow. Please Red give us a choice that reflects the commercial reality I deal with everyday. Some clients will embrace RAW others won't. I need my Epic to do both as brilliantly as possible.

Note
When i use the term "pro Res module" I mean it generically. Ideally it would include a couple of flavours of popular codecs. Maybe even be firmware up-dateable?

PS Mark sorry for hijacking your thread
 
Mark Toia said:
I'm sticking with RAW and sticking with my in house post methods, I'm saving hundreds of thousands of dollars a year and that goes straight into my pocket!
Plus my investment in RED is way less than if I was an ARRI user...

I just cant loose doing it my way.
Click to expand...

Same here, all production steps inhouse, saving a lot of money. The only part I sometimes would like to share is color correction. I'm shure, to have a second well trained color artist opinion would make my pictures even better.
 
David Battistella said:
Tim,

I think you make very valid points. RED was created with the future in mind. Premiere is doing the RT timeline thing now with the Mercury engine, but both AVID and FCP X are moving toward "one codec" mentality.

I really think that in that "codec war" APPLE has an upper hand. That means PRORES in and out is "the easy way" Just when PREMIERE and the next AVID promise more "native support" FCP is moving toward one codec for all. That will be interesting to watch for sure.

I don't think we can write off Apple just yet. (I'll wait at least a year and keep running the FCP 7 workflow I have in place before I do that) because how FCP X gets adopted in the LONG TERM will have a huge effect on everything.

Premiere R3D editing is limited at best. Plus, it means I have to use premiere. (like asking my barber to use hedgeclippers).

Interesting times for sure.


PS: If this was addressed soley at Mark I'm sorry if I jumped in to quickly.

David
Click to expand...

just curious can you please explain why premiere pro native r3d editing is 'limited at best'? I've been editing native .r3d's in PP since starting with Red and have a Phenom II older quad core that plays them perfectly real time. I'd like to learn though because I don't want to be missing out on anything so can someone please explain what's so limiting about this process?
 
Mark Toia said:
I live in AUS, but work everywhere else... Would like to spend more time in AUS. Family are getting annoyed with me.
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Your work is some of the best i've seen done with Red. when are you going to shoot a film?
 
Hi Mark,
you show a lot gergeous work here on reduser. But not only for that I want to send you a huge THANK YOU! I find your generous sharing of your knowledge about R1 and its workflow from your experienced practical point of view always incredible helpful and eye opening.
Great guy:thumbup1:
Marc
 
Fantastic work Mark! Very inspiring. Good job on the grading it looks really good!
 
The Grreatest Camera

The Grreatest Camera

Hi,

Two years ago we used to own a small rental production house in eastern India with most of our clients working in SD mainly for television. The people were not even discussing HD at that time. Films were shot on Arri3 cameras.No DI ..No Color correction.
Some guys making films in Varicam etc .

In April 2009 , we brought RED ONE to this part of India....It took us three months to convince people regarding the format . For post production we got Assimilate Scratch.....From then on it has been no looking back.

We have two RED MX now, Assimilate Scratch version 6 with RED ROCKET , 6 FPS editsetups , 1 Avid Media Composer and in last two years we have done tons of job on RED in film and advertisement and currently we are on a daily
thriller which is being shot on RED MX , Edited in FCP and finished in Scratch and we are delivering on time.Our setup is the leading set up in this part of India for RED centric work..

So RED workflow is not an issue if you have the right tools and well trained technicians....

YES RED IS THE GREATEST CAMERA EVER BECAUSE IT HAS NOT ONLY CHANGED THE FILM MAKING PROCESS BUT ALSO CONTIBUTED IN GROWTH OF MANY OF US INCLUDING ME....

Further we are getting our EPIC-M tommorow........First camera available for rentals in INDIA>>>>>>

Thanks
Harcharan
 
Harcharan Is A great guy.. And a real Self Made Person with Lots of passion And What Make us together Is this RED ONE CAMERA revolution ... Best wishes For Your Epic Friend
 
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