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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 :)

Working in TV - loosing Epic work to the other brand due to transcoding costs/ time

jamesbridges said:
Hey Mike,
I have been using the NanoFlash with high success. I usually record my Scarlet at 220 Mbps. I know it is an 8 bit recorder, but it works great.
Any questions please contact me.
Click to expand...

Hi James,

I would really like to know more about your experiences with the scarlet/nanoflash configuration.

I'm aware of the advantages of the pix, but the weight of it is a drawback for me.
I also don't plan to go back to r3d's later if I use a prores recorder.
(It's only for clients that demand HD MFX files for their workflow and don't want to transcode or work with Premiere.)

If you'd feel like answering some questions, it would be much appreciated!

1) Does start/stop triggering work with the nano and how reliable is it in the field?
2) I use dual system sound and have a scratch mike on the scarlet (therefore sound on the sdi-out is not reliable, sometimes nothing is even recorded...)
How do you deal with syncing sound files from the 744T? Does the nanoflash record the Scarlet's TOD TC via the sdi-out?
3) Any picture / sound delays or TC drifts that make things more complicated?
3) What's the best way to do TC jamming between the 744t, Scarlet and the nano?
4) Any advice for cabling or powering the nano (I would like to use the D-Tap on my brick adapter)

Thanks so much for helping on this!!

Cheers,
Sebastian
 
I'm on a job right now with 2 Epics and 1 Scarlet (5k HD, 4k HD, 8:1 23.98) and am color matching and transcoding on set to prores 422 hq for editorial and am supplying post with more material than they are able to keep up with (i send out a shuttle drive with synced audio 45 minutes after wrap with all cameras having a matching "look"). The Post Producer who visited set yesterday said "I usually hate a RED workflow but youve really been able to keep us working." I hope along my travels I can help convert more and more producers that I come across that don't understand how quick RED turn around CAN be, with the right tools.
 
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