RED 16:9 REDLINE & QT support

[jonasdrehn]

Hi There,

Any update on the 16:9 proxy issue and REDLINE support for 16:9 ... I can't believe that RED has so many users dealing with these problem each day and for such a LONG time. Can someone give us a hint when a new QT codec and a new RedAlert / Redline version with support 16:9 will arrive.

jonas

[Mark Toia]

2 to 1 looks great,
Just up res at the end of the project to 16:9, takes minutes.
Then you have both. 2:1 and a 16:9 version.

Even when 16:9 does finally come along, I doubt id use it.
Wide is sweet.

lifes good

[wedowee]

The 16:9 and REDCODE problem is supposed to be corrected in Build 16.

[Michael Thornton]

It's all depends on your tools sets, and people.

I would love Redline/Red Alert to support 16x9 for now.

It does not stop my clients from shooting 16x9.

With the right Tools/DIT/Post Supervisor, you can shoot 16x9.

Just don't push it too far like shooting 16x9-36, just 16x9-28 for now.

You will have issues media too slow, and most the time you won't see it on set.

This is NOT a RED problem, it's a media thing. CF/RED-RAID can not keep up that's all.

Before you shoot anything with any camera system, please do your planning.

An ounce of prevention is a pound of cure right?

Then a minute of planning will save hours in productions.

Tek

P. S. Meet your DIT before your shoot, pay for preps time if you have to. It's worth it. Don't ask questions, let him/her show you what he/her can do first, then grill him or her. Most people's mistake is hiring the camera owner to be the DIT, and the bigger mistake is a DIT that does not own a RED. Make sure it's a DIT/RED Owner/Experienced, must have real experience no exceptions.

[Seth Larney]

It's all depends on your tools sets, and people.

I would love Redline/Red Alert to support 16x9 for now.

It does not stop my clients from shooting 16x9.

With the right Tools/DIT/Post Supervisor, you can shoot 16x9.

Just don't push it too far like shooting 16x9-36, just 16x9-28 for now.

You will have issues, and most the time you won't see it on set.

This is NOT a RED problem, it's a media thing. CF/RED-RAID can not keep that's all.

Before you shoot anything with any camera system, please do your planning.

An ounce of prevention is a pound of cure right?

Then a minute of planning will save hours in productions.

Tek

P. S. Meet your DIT before your shoot, pay for preps time if you have to. It's worth it. Don't ask questions, let him/her show you what he/her can do first, then grill him or her.

For what it's worth, I have had zero issues shooting 4K 16:9 REDCODE36 to REDRAID.

[Michael Thornton]

I have had zero issues shooting 4K 16:9 REDCODE36 to REDRAID

Thnx Seth,

I have because I am an on set DIT, and sometimes with rentals equipments.

REDRAID from rental houses are not perfect, because of abuses.

It will not keep up with 16x9-36 50% so far.

Trust me.

I have seen it.

Tek

[Robert Berger]

For what it's worth, I have had zero issues shooting 4K 16:9 REDCODE36 to REDRAID.

Hai Seth,

where did you got this knwledge "This is NOT a RED problem, it's a media thing. CF/RED-RAID can not keep up that's all." Red raid should be oke for 4K 16:9 in the near by futher and we hope with buid 16. A lot of drama for TV wil be shot in the Neterlands and in FCP it is easy to go from 4K 16:9 rather than to zoom from 2:1 to 16:9. Its extra work and the budgets are low here.

So the best shoot 4K 16:9 and working in FCP log and transfer to 2K 16:9!!

Robert

[Gunleik Groven]

It's a quicktime bug.
That's why RC "handles it". ("Handles" because of all the RC bugs and limitations...)

[Michael Thornton]

So the best shoot 4K 16:9 and working in FCP log and transfer to 2K 16:9!!

Camlight,

I would love to do that for right now too.

The fact is you are taking too much risk with your media.

Currently it is cheaper to work in 4k 2:1 with a simple compressor batch droplet for conform your media to Prores 1080p 16x9 cropped.

For right now if you shoot 4k 16x9 RC28 or RC36, you have to convert to DPX. Then DPX to what ever...

That is where the extra cost is for now, and you will see issues like drop frames and missing lines.

Save yourself the headache for now if you are going to broadcast.

Shoot 4k 2:1 RC28, then scaled and cropped.

Tek

[Robert Berger]

Camlight,

I would love to do that for right now too.

The fact is you are taking too much risk with your media.

Currently it is cheaper to work in 4k 2:1 with a simple compressor batch droplet for conform your media to Prores 1080p 16x9 cropped.

For right now if you shoot 4k 16x9 RC28 or RC36, you have to convert to DPX. Then DPX to what ever...

That is where the extra cost is for now, and you will see issues like drop frames and missing lines.

Save yourself the headache for now if you are going to broadcast.

Shoot 4k 2:1 RC28, then scaled and cropped.

Tek

Well Tek, no headache here, so far i took no risk and i'm shooting in 4K 2:1 in R28. Already a little 10 hours of materiaal in FCP by the post. Everything works wel and we are stay for this documentary in 2:1 even broadcasting it like that.

thanks
Robert

[Michael Thornton]

i'm shooting in 4K 2:1 in R28

Good for you.

:-)

Tek

[Fredrik Callinggard]

Guys!

I know Jonas very well, he telecined my Nescafe ad (if you've seen it). That was shot on 4K 16:9 with ana's. So he has a very successful workflow into his Lustre. I don't think that's what he means.

He asks what the update is? What are the news for a full support workflow with our cameras?

It has been a very long time (8 months and counting) and it's about time some news came out.

I think that's what he's saying, but he can correct me if I'm wrong.


Fredrik