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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 :)

What size SSD's will be available

Thanks Jim. Good to hear from you on Scarlet. Looking forward to my first pro camera. Thank you and enjoy your holidays.
 
REDcode 28 = RC 10:1
REDcode 36 = RC 9:1
REDcode 42 = RC 7.5:1

128_redmag.jpg
 
Deanan, I imagine these recording times are with the Epic? Is it the same for the Scarlet? Also will the SSD change the times upward or downward at all? Thanks again and happy holidays to you.
 
sbcooler said:
Deanan, I imagine these recording times are with the Epic? Is it the same for the Scarlet? Also will the SSD change the times upward or downward at all? Thanks again and happy holidays to you.
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The times can vary +/- 5% or so depending on the scene content.
Scarlet will be around the same numbers for it's resolutions/redcode options.
 
I guess that the Scarlet will run most of the time between REDcode 28 & REDcode 36.
 
1800$ for 128GB SSD is a lot. They should make an option so one can use 3rd party SSD's.
 
Derek S. said:
1800$ for 128GB SSD is a lot. They should make an option so one can use 3rd party SSD's.
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Perfectly logical thinking there, Derek, until we start looking at some of the facts. For starters...

Jannard said:
Just for reference, the best price we could find on Sony SxS Pro 32GB was $795 at B&H. I'd have to say we are right in line (cheaper per GB in every case) with the high volume producers. And BTW, that card would be too slow to work in an EPIC.

Jim
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Though SSD's seem to be getting a lot cheaper, most are not made to be inserted/taken out/reinserted into recording drives. Also, RED has a reputation to live up to. Their cameras record data at very intense and rapid pace. Though manufacturers may advertise that their drives can read/write up to a certain "Max" number, those speeds cannot be maintained...let alone be depended upon for serious shoots. RED has developed their own recordable media and sent it through rigorous training.

Until another company can "step up their game", RED cannot afford to allow their reputation to be placed on the line because of frames being dropped during productions.

No harm done by asking, and I hope this kinda answers some of your questions...
 
Benoît-Joan Clariana-Roig said:
I guess that the Scarlet will run most of the time between REDcode 28 & REDcode 36.
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Terry VerHaar said:
Just wondering why you'd make that assumption? Wouldn't all the same factors play in to what compression rate you choose on the Scarlet as would on the Epic?
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I don't see anything wrong with that. After all, RC28 and RC36 were the two most popular rates that the RED One has been used at in my understanding.

With the Scarlet being 3K, I can't imagine why the average person would want to shoot much more than that. The only exception would be for overcranking, in which you naturally want a higher datarate for the extra frames...
 
Joseph Hutson said:
I don't see anything wrong with that. After all, RC28 and RC36 were the two most popular rates that the RED One has been used at in my understanding.

With the Scarlet being 3K, I can't imagine why the average person would want to shoot much more than that. The only exception would be for overcranking, in which you naturally want a higher datarate for the extra frames...
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Except, Joseph, at 3K (vs. RED ONE's 4K) REDCODE 28 and 36 (signifying 28 and 36 MB/sec, respectively) indicate a very low compression rate - perhaps less compression (higher data rate) than is reasonably needed in many cases. So I am not sure why such an assumption is warranted. And you know what they say about the word "assume." :biggrin5:
 
Joseph Hutson said:
I don't see anything wrong with that. After all, RC28 and RC36 were the two most popular rates that the RED One has been used at in my understanding.

With the Scarlet being 3K, I can't imagine why the average person would want to shoot much more than that. The only exception would be for overcranking, in which you naturally want a higher datarate for the extra frames...
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VFX work, less compression the better. when they are going pass after pass of constant conversions, stacking effects, composites, etc. you want as much information the image can provide. the closer to max the better.

higher data rates will also help with green screen further, especially when it's a complicated setup, and it's not the most "ideal" lighting solution.

color grading. it's argued over and over and i'm not gonna take sides. but generally when you grade you want more data rate for more information in the picture for the grade itself. a lot of colorists actually complained about RED when it first came out and how it fell apart in the grade. I don't support this just going by what colorists have told me. Not preaching anything. New color science and higher bitrate has solved a lot of that.

there are a lot of reasons to shoot at a higher data rate, and there are a lot of reasons to shoot at a lower data rate. RED does a great job of giving you the visual perception that nothing is being lost so you can scale your bit rate according to the production's needs. if it's a very straight forward narrative on a lower budget you might wanna shoot lower bitrate to save hard drive space.

if it's much higher budget and you want as uncompromised image fidelity possible, you shoot higher. I'm sure when they shoot pirate's 5 on epic 3d rigs, they'll be shooting as much 2.5:1 as possible :)
 
is there a way that RED could sell a REDMAG SSD enclosure where we can put are own SSD's inside so when the 512GB and the 1024GB SSD's start showing up on the market we can swap SSD's out of the REDMAG
 
Adam Webb said:
is there a way that RED could sell a REDMAG SSD enclosure where we can put are own SSD's inside so when the 512GB and the 1024GB SSD's start showing up on the market we can swap SSD's out of the REDMAG
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The pros and cons of non-RED media have been EXTENSIVELY (!!) discussed on the forum so the only really complete answer to this question would be found in searching and reviewing it thoroughly.

The Cliff's Notes version is that RED has a very difficult time finding any "off-the-shelf" media that can record the high data rates necessary and, since they cannot guarantee the integrity of the data recorded to the third party media, but are ultimately held responsible for it, they have to closely control the quality of media that people use. They only way to do that is to produce and distribute it themselves. I hope that is at least a reasonable summary of the discussion. :smiley:
 
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