Red's Time Code

[Jay A. Kelley]

Ok this is another obvious one, I did do a search on Time Code to see if it's been brought up, but got too many back ..Soooo

What's RED doing about TimeCode? Since it's a pro camera I know it will have it, but do they plan to have TC In and TC Out? After all this is major when shooting music videos and such.

I know this is Obvious, but I could not find anything on it.

Jay

I am also wondering how this will work with the various frame rates

[taubkin]

They should have a sync system too, or maybe work with those boring devices, such as origin Cs...

[imgentertainment@mac]

We should have standered Time Code options tri sync timecode in and outs over BNC concetors. And I think we will for the market this camera is going after. Time code is so importan on film when using external sound. Also not to mention jusy syncing up multiple cameras.

[Gibby]

Time code will be way important for every genre of production. Time code is planned for the camera. Inclusion of time code in the RED One camera was verified by Jim Jannard in my published interview with him (April 2006).

Gibby
RED camera #8
www.cut4.tv
www.4umat.com

[Jarred Land]

yes they will have time code in and out, with the traditional in and outs.

[Jay A. Kelley]

I don't have the numbers here, but has anyone considered size issues when putting pro gear on a small thing like the red one?

The following cables:
Time Code in or out
SDI monitor out
SDI or other out to capture I.E. RED MAG
SDI or other out to backup capture device
2 audio lines in
1 return audio line out
Firewire in/out
Monitor mounted on it
EVF mounted on it
on camera light mounted on it (We do this a lot on steadycam work for a little fill)
Follow focus on it
Mattebox on it (follow focus and mattebox are not a big deal as they are more a part of the lens than the body)

Ok based on the body's size, this thing is going to have so many cables that I worry it will look like something out of "The Matrix".

I am cool with the camera being light, but it does not have to be really small. If it is I worry there will be so much covering it, it will be hard to work.
Jay
Focus Puller

[Gibby]

Hmm...just because there are lots of connection buses doesn't mean all of them, or even most of them would be in use on any given project. For most ENG-style uses of RED (sports, reality, news, etc.) very few of those buses would usually be connected at the same time. For hard-lined television work with a truck, more of them would be connected than mobile ENG-style, but then you're usually stationary, and all of them would still never be connected at once. For mobile cine-style (documentary, etc.), very few of those buses would be used simultaneously. For stationary and near-stationary cine-style work more of the buses would be in use, but again, since you're stationary it shouldn't be a problem.

The camera has hard points for mounting stuff all over it, and so does the cage system. The rods even have holes for mounting things. The camera will get big at times, in certain genres of production, and for more mobile work, it will get real small. Short cables that are cut for the length of the run, and velcro cable ties will be the trick.

There's usually a complimentary relationship between how stationary a project is and how much gear you need on the camera system, and conversely how mobile a projects is and how little gear you need on the camera system. Every increase in camera system size brings a commensurate decrease in effective mobility of the system - and visa versa.

No problem...

Gibby
RED camera #8
www.cut4.tv
www.4umat.com