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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 :)

Will we ever get PRORES ?

Thomas Koba said:
Doesnt Prores take much less space?
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If you're gonna shoot heavy good quality video in 4K it takes up a lot more than R3D. This is one of the reasons I don't understand why people want ProRes 4K in the Red cameras. Proxies I understand, but not ProRes as the main codec.
 
Many clients ask for ProRes, that has reduced rental possibilities for Red cameras favoring Arri cameras... it´s that simple, we all know that, Red knows that.
 
I know this is a somewhat naive - and stubborn - perspective but, honestly, I think that any producer who can't understand that beautiful images can be wrought from well exposed REDraw (and it is easy enough to see whether it is well exposed while on set), then I think that producer should find another line of work. :-(

Now, carry on with the persistent discussion of the need for ProRes...

:-)
 
its not about what it can look like when there are tight deadlines, its about meeting the deadline with a "good enough" product. lots of times I'm on set with my rocket x just to meet the deadline. raw plus proxy in camera makes stuff easier but plenty of guys like myself happy to work and can turn it around any flavor, mxf, dpx, prores, whatever you need. full debayering too instead of half or quarter, so theres always options. i bet even with weapon some people will need other codecs or fast frame rates or some need for rocket x still I'm guessing...
 
Mert Icgoren said:
I find it really frustrating that the new RAVEN can produce ProRes whereas my 1 year old Epic Dragon is stuck with producing RAW only.

Don't tell me it's about processing power and yada yada... The BMPC can even record RAW and ProRes so no I'm not buying the "its about processing power..." thing...

Does anybody think if we'll ever get ProRes recording in the upcoming firmwares or are we stuck with RAW forever ?
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I agree... and I doubt it. Nothing inside to make PRORES.

'The BMPC can even record RAW and ProRes so no I'm not buying the "its about processing power..." thing...'

Mmmmm... yes.. interesting.
 
Terry VerHaar said:
I think that any producer who can't understand that beautiful images can be wrought from well exposed REDraw (and it is easy enough to see whether it is well exposed while on set), then I think that producer should find another line of work. :-(
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Most producers rely on past experience and as such, I don't see it as so outrageous, if producer who had used Alexa with Prores recording in the past feels, that Prores is the way to go. I happened to think, that producers have other more pressing issues on their plates, like paying your invoice:001_tongue:
 
Terry VerHaar said:
I know this is a somewhat naive - and stubborn - perspective but, honestly, I think that any producer who can't understand that beautiful images can be wrought from well exposed REDraw (and it is easy enough to see whether it is well exposed while on set), then I think that producer should find another line of work. :-(

Now, carry on with the persistent discussion of the need for ProRes...

:-)
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So you just turn down jobs, on philosophical grounds, by producers who ask you to generate Pro Res proxies?

That's quite a luxury. I would never be able to pay off my kit if I took that approach.

Personally, I'm quite excited to have Pro Res in camera. Rockets are expensive and have never been too robust.
 
This will be interning to see what happens.
 
Paul Russell said:
I don't understand that either. It's no issue for me to generate a full day's shoot of ProRes Proxies overnight through RCX.
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I would also say that for Sony S-Log, Arriraw, Canon, or even film. Overnight for ProRes dailies is pretty typical.
 
Mert Icgoren said:
...
How about having a higher SDI/HDMI output, like 2K ? So that it would be possible to record to an external recorder. Do you think that is possible ?
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I hook the atomos shogun to the SDI on the dragon epic all the time and get great 1080p prores plus I use it as a directors monitor - this should work for all quick turn around jobs. I also always record to the r3d in case there's a mishap. I don't see why there would be any quick turn around jobs for 2k though, since that format is more feature film related.
 
We have a box and a system that records Prores, and flags varispeed (or any shot with a mismatch) shots so that those will be automatically transcoded .
It's doable. But with an external unit and a bit of software.

As to the "processing power" issue, it's not as straight forward as it may seem.
 
PatrickFaith said:
I hook the atomos shogun to the SDI on the dragon epic all the time and get great 1080p prores plus I use it as a directors monitor - this should work for all quick turn around jobs. I also always record to the r3d in case there's a mishap. I don't see why there would be any quick turn around jobs for 2k though, since that format is more feature film related.
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Patrick... I'm seriously considering doing this for an upcoming shoot. Thanks for the K.I.S.S. kick in the head :-)
 
Just did this with the atamos shogun and dragon for a shoot with the nfl network, worked out great, didn't exactly see the point, but the producer was happy to have the prores so what the heck
 
Gunleik Groven said:
Yup, I know this is not what you are asking for (as I'm not a complete dork), but:

http://www.red.com/store/products/red-4k-broadcast-module
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Indeed not what we need ;)
A simple more affordable no frill 4k hdmi out for shogun or for 4k preview on cheap consumer screens is what many are asking for...many other cameras are doing 4k hdmi out today...it's odd that RED being at the forefront of 4k has not given us a low cost solution. Although I am sure there is an engineering limitation that we are not aware of...
 
But the cool thing with the Redcast module, is that it delivers live 4k.

And with all the bells and whistles needed for live broadcast.
I was in one demo with a big user here, and they're following up with a level2.

REDs will be used in major live broadcast here this fall.
 
patrickortman said:
Patrick... I'm seriously considering doing this for an upcoming shoot. Thanks for the K.I.S.S. kick in the head :-)
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A nice thing to do on this to keep it simple is to get the D-tap connector (it comes with a d-tap adapter but doesn't come with a d-tap to d-tap connector). This way I just hook it up on my AB camera battery and keeps it real clean.

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Matthew Quinn said:
Just did this with the atamos shogun and dragon for a shoot with the nfl network, worked out great, didn't exactly see the point, but the producer was happy to have the prores so what the heck
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Agreed, also so many things can go wrong from a producers viewpoint, that anything to keep them calm I think really helps on getting repeat jobs. Also I sometimes have the shogun hooked to a wireless video via paralinx, isn't as stable but also able to find any problems real quick.
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