Is RED something for us?

[JS_Norway]

Hi. I work for a medium sized company who among other things make short films, commercials and information films. We shoot and edit everything digitally, today mainly in SD. We are considering moving to HD. RED got our attention because of the relatively low cost and amazing options. My question is what do we need to shoot, edit and deliver HD using the RED camera. We have some equipment, of course, but I would like to know exactly what minimum requirements the RED system needs on all stages of production. Shooting, recording, editing and deliver digital HD video. And, of course, estimated costs.

Will there be an european version of the RED camera?

Thanks!

[Cineman]

This is the right camera for you, that's for sure.

But, if you really want to be sure, wait a little more, cause RED (http://www.red.com) will upload Peter Jackson test footage. Made for NAB 2007. All footage was shot using RED's proprietary REDCODE RAW 4K codec and recorded to RED DRIVES.

About european version. You asked this, because of FPS or what? Anyway, you could buy this RED ONE and will do perfectly work in Europe. ;)

[Vincent Rice]

Yes RED is for you. No need for a European version and no need for any more infrastructure than you would require for any HD workflow.

[jbeale]

In the SD camera world, most cameras either shoot NTSC format (more properly 29.97 fps) or PAL/SECAM format (more properly 25 fps) but not both. By contrast, the lowest resolution that RED can produce "natively" is 720p but the frame rate is "anything you want" up to 60 fps, or even 120 fps in a windowed mode. If you need SD out of it, it will be a downconversion step whether it is 29.97 fps or 25 fps or 24 fps.

I should add that orders placed now apparently won't be delivered until the end of the year at the earliest, so there is quite some time yet to see how the camera works for the early reservation holders in many different countries, in many applications.

[Jon McCoy]

Will there be an european version of the RED camera?

Being based in the UK, when I hear those words "European Version", my wallet groans with despair. The UK/US exchange rate is £1=$1.9. As a prime example, the UK and European versions of Adobe CS3 are priced £1=$0.90. We're paying as much as 210% compared to the US.

I damn well hope there isn't a European version.

[JS_Norway]

Thanks for all the replies!

So, apart from the macs, what we would need is:

RED ONE (SPIKE)
$17,500

RED ONE POWER PACK
$1,450

RED ONE BASIC PRODUCTION PACK
$1,250

RED PRIME (f2.8) 300mm
$4,950

RED ZOOM (f2.8) CF 18 - 50mm
$6,500

RED DRIVE 320GB
$900

RED EVF Viewfinder
$2,950

RED LCD Screen (5.6")
$1,700

SUM: $37.200

Am I missing something? What about capture?

Sorry if these questions are stupid... :blush:

Thanks :)

[Craig Bowman]

The red drive plugs into your computer and you have direct access to it. You will likely realize the importance of having at least two drives. Also you will need a pair of red cables to connect your EVF and LCD. You may want to mount the LCD on a Red Arm as well.

[Kjetil Haugen]

Hi. I work for a medium sized company who among other things make short films, commercials and information films. We shoot and edit everything digitally, today mainly in SD. We are considering moving to HD. RED got our attention because of the relatively low cost and amazing options. My question is what do we need to shoot, edit and deliver HD using the RED camera. We have some equipment, of course, but I would like to know exactly what minimum requirements the RED system needs on all stages of production. Shooting, recording, editing and deliver digital HD video. And, of course, estimated costs.

Will there be an european version of the RED camera?

Thanks!

Where in Norway are you guys? Mind if I ask what company?

[Stephen Gentle]

I think that RED ONE would be a good fit, but you might want to wait and see if the mini camera RED is making would suit your needs better. With the RED ONE though, I would shoot 4K redcode, edit native in FCP, then export it in 1080p. This way you could shoot 25p (Europe/Australia) or 30p (America/Japan).

Also, are you sure you want the CF lens? Doesn't that only focus up to 8 inches or something?

[JS_Norway]

Thanks for all opinions!


I think that RED ONE would be a good fit, but you might want to wait and see if the mini camera RED is making would suit your needs better. With the RED ONE though, I would shoot 4K redcode, edit native in FCP, then export it in 1080p. This way you could shoot 25p (Europe/Australia) or 30p (America/Japan).

Do you have any more information on the RED mini camera? I cant find anything on red.com. Any special reason for shooting 4K instead of for example 1080p?

Thanks!

[Stephen Gentle]

Thanks for all opinions!



Do you have any more information on the RED mini camera? I cant find anything on red.com. Any special reason for shooting 4K instead of for example 1080p?

Thanks!

The mini RED camera (a "professional pocket camera"), a range of 4K projectors, and a range of 4K displays were announced at NAB, but unfortunately we don't have any info about those yet...

[Michael Schrengohst]

Jim, said on DVInfo.net that the "Pocket Camera" details will emerge in a few months. What a great way to make people think twice about buying any camera for the next few months. (Except a RED)

[Gavin Greenwalt]

Capture is as simple as unplugging the HDD and plugging it into your PC. It's a copy paste operation. Welcome to an IT workflow. Speaking of which you might want to consider two HDDs in case A) one fails or B) you need to shoot and offload footage simultaneously.

As soon as you copy it wherever you want on your PC or Mac you will in the very near future need to load it into REDCine. In the REDCine software (included) you'll do an initial single light color correction and export into whatever format you want to edit on (DV, DVCPro HD, DNxHD, Pro Res, HDCAM, Cineform or DPX sequence etc.) You can either stay in this format for delivery. Export straight out of Avid, Premiere, Vegas or FCP just as you do currently. Or you can for maximum quality take this offline cut and conform it using a second format exported from REDCine (such as uncompressed 4k DPX files.) in an online editor or grading suite such as as Lustre, Scratch, Avid Nitris or Smoke. Or you can attempt to conform in any resolution independent editor such as Combustion, Fusion, AE, Shake or Nuke.

In the future editing software will support 4:4:4 Redcode 4k Raw without any export from REDCine. However this won't happen in any software until an unknown time in the future. Any dates you hear are just speculation.

[nobodySpecial]

Thanks for all the replies!

So, apart from the macs, what we would need is:

...

Am I missing something?

Just something to remember when you are talking about getting new Macs. The RED will put out much more data than your SD workflow. RAW will do 100GB/hr as will ProRes at 1080@30. Depending on how many projects you work on simultaneously, you may need to look at upgrading your storage and backup solutions.

-Mark

[Seán_T]

Any special reason for shooting 4K instead of for example 1080p?

One would be oversampling.
I.e. I've always found through the years that the crews shooting HD and downconverting for SD delivery have quite often ended up with a much cleaner image then those who have shot SD for SD. But without the cameras being out in peoples grubby hands its hard to test the comparison of 4K down to HD vs HD for HD. And then you'll have to decide if its worth the extra overhead.

[ericyoung]

...Also, are you sure you want the CF lens? Doesn't that only focus up to 8 inches or something?

The close focus means it has a short minimum focus distance, which is good. Many lenses can't focus on objects less than about 16 inches away, so 8 inches close focus is really useful.