Workflow (good) News

They mention RedCine converts to 480p, but what about 576p for those of us in PAL land? I'll be at IBC tomorrow, so I guess I can ask them.
 
do I get it???

do I get it???

So the way I read the chart is that Redcine works in camera??

If it works like this in real time (or anything close to it), we would never shoot anything but 4K???

It all sounds promising but I'll look forward to Graeme's full explanation.

Exciting stuff!!!!
 
nalu said:
So the way I read the chart is that Redcine works in camera??

If it works like this in real time (or anything close to it), we would never shoot anything but 4K???

It all sounds promising but I'll look forward to Graeme's full explanation.

Exciting stuff!!!!
Click to expand...
That'd be sweet if it did. But wouldn't that be firmware rather than software... not sure tbh. I read it as a piece of software that you installed on your computer and worked by importing the data to the computer and then compressing it to how you choose merely because surely color correction would be better on a larger screen no? Either way I also look forward to a full explaination :)
 
nalu said:
So the way I read the chart is that Redcine works in camera??
Click to expand...

I don't think so. http://red.com/workflow.htm says, "2. Import and process in REDCINE"

Sounds more like a PC/MAC application.


Further it says "5. Encode to the video (10 bit 4:2:2, DVCPRO HD, H.264, DV) or still codec of your choice (TIFF, DPX, JPEG 2000, CINEON, PSD, JPEG). You can encode stills and video into ANY industry standard codec on your system."

Does that mean that there will be no dedicated and optimized RED-CODEC for Premiere Pro or FCP? Or is "10 bit 4:2:2" refering to the RED-CODEC? Do we have to use the Cineform codec instead? That would add $1,499.00 for the Cineform 10bit 2k version.

Don't get me wrong, but I don't want to shoot with the RED ONE and then cut on 8bit, 1280x1080 DVCPRO HD....
 
From updated red website:
Depth of Field: Equivalent to 35mm Cine Lenses (S16mm with windowed sensor)
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This part seems like it is saying you get s16mm (not 35mm) DOF when you use the windowed sensor.

If that is right, assuming the new zoom announced is light and cheap enough you would get a s16mm DOF by utilizing the windowed mode (1080p say). If i have read it right it would mean the red one becomes suitable for ENG work without having to use smaller format lenses (provided as stated the red zoom is light enough).

Please tell me if i have got that wrong!!

Michael
 
i JUST don't understand: 27Mb/s.. like HDV?

or it is MB = megabytes and not megabits like is usual to refer in these cases?

and it is: 216 megabits? 27 MB/s x 8 bits (= 1 byte) it makes more sense..
 
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filmmaker1977 said:
i JUST don't understand: 27Mb/s.. like HDV?
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Nono, that an uppercase B. It's MegaBytes / second.

That means about 38 seconds per GB.

And about 5h of footage on a 500GB harddisk.
 
nalu said:
So the way I read the chart is that Redcine works in camera??

If it works like this in real time (or anything close to it), we would never shoot anything but 4K???

It all sounds promising but I'll look forward to Graeme's full explanation.

Exciting stuff!!!!
Click to expand...

I wish we could have this in camera, but the chart says it's software, so I think it will run on a computer. Still, it really does give you lots of control over the image. The down side is that it will take some (lots?) of processing time when ingesting the footage. Maybe that's a small price to pay for 4k footage.

This does partly explain why the price of the camera is low (compared to other high end HD cameras). It just outputs raw data. All the image processing is done outside the camera.
 
Quad core chips are coming this November so I would waiger that by the time RED ships there will be dual quad core boxes for chewing up this footage.

The workflow of creating proxy clips in DVCPro or DV for editing will be interesting. Of course who knows, maybe this time next year we can just edit the native 4K Red code video? Crazy?
 
its early days but it looks like you have to do the raw grading BEFORE you edit. Very odd. Cineform offers white balance and colour correction on the timeline itself. Looks like redcode is not a realtime editing codec but just the capture medium?

we'll see tho, it's very early.
 
Grading befor editing

Grading befor editing

No that is not strange. It will be like film editing. After the shoot you convert all the material without any or very little processing to a workable video format, DV or 720p quicktime for instance. When your offline is finished you will only grade the takes from your EDL and convert them to the output formats of your choice, like 1080p for blu-ray production or 4K for printing to film. This way you can do your offline in FCP or an old avid station, and only need expensive time in a post production company for your selected takes. This implements the need for reading edl's for the Red Software wich is not mentioned but will be there hopefully
 
Hopefully it can use an interchange format that's a little bit more advance than EDL. But yeah...if they don't implement a good way to get back from a "one light" offline edit to the original 4K for final grading, then they will not be doing so well...but come on, we know these guys...they'll get it right :) Anyway...a very cool system through and through. I just hope they buddy up with Apple right away.
Peace,

-Harry
 
I hope the colour adjustments/temprature process is similar to the Adobe Bridge process of importing RAW.. That would seriously kick ass.
 
RED Cine will convert to 576p for PAL users - yes. We were rushing to get the poster made up for IBC and it's not as complete as I'd like, but as you know, I'm a PAL guy even though I live in Canada, and it is a world camera.
 
Redcine

Redcine

So to answer a question and clear up a misconception - REDCINE is an application that runs on a workstation (for example an Intel Mac) and emulates what we do in real time in camera hardware when we tell it to record an HD format such as 1080p / 24. That is it converts Bayer pattern data to RGB, applies a gamma, color space and white balance correction to the data, scales it to 2K, crops it to 1080p, converts it to 4:2:2 and encodes it.

Think of these as complimentary paths. If you know you want 720p or 1080p output you can go direcly there by doing all the processing in camera and recording a compressed 1080p image using REDCODE 4:2:2. Or you could shoot 4K RAW using REDCODE RAW and bring that data set through REDCINE. Yes its a bit slower in post to do that, but the advantge is your initial recording is in 4K, not 1080p, which gives you more options for your footage - for example a 4K DCI, a super quality 35mm film out plus your 1080p HDTV deliverable, as well as a 4K RAW source footage archive.

The intent is to provide two easy to use on-board recording workflows, one emulating an existing compressed HD worflow, the other emulating a digital film negative / DI workflow.
 
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