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Sounds like Jim has other format modules in mind. How cool would it be to set out on a shoot with a ProRes or HDDNX module for recording edit proxies separate to the Redcode files, depending on what the post house wanted?!
This company continues to astound me. It's like, when do they stop making so much bloody sense and start behaving like the rest of the industry? Please don't let the bubble burst.
Buy a new mac before you buy scarlet. Seriously you shouldnt be trying to edit anything on a PPC iMac its not an editing platform.Quote:
Originally Posted by Graham Foulkes
Based on a conversation several of us had with Jim at RED day, my interpretation would be that you are unlikely to see a ProRes module any time soon, if at all. Not trying to put words in his mouth but that is what I came away believing. Just FWIW.Quote:
Originally Posted by Shane Betts
I have an 8-core mac pro and I can't edit Canon 5D h264 files in real time. too much decode to playback smoothly. RED proxies at 2K are great though!
That'd be a damn shame. However...Quote:
Originally Posted by Terry VerHaar
The Penelope boasts the feature of one camera for all jobs (in theory) but, if you accept that a 5k digital camera with 125fps and 13.5 stops DR negates the need for a film camera, the one camera theory comes down to deliverables. But Aaton seem to have made a tactical error in running with HDDnx, aligning themselves with only Avid post paths.
Jay has come up with a lovely way to record 720p video files direct from the R1, the Epic makes that 1080 I believe. There are devices out there that can record from HDSDI to ProRes (AJA Ki Pro for one - although it could be smaller) and, with Media Composer 5 able to work with ProRes, that could be all we need to be able to deliver, from the shoot, exactly what the post house wants - industrial shoot, TVC, feature - and without half an hour on the bench with screwdrivers.
One camera. What are we shooting today?
Canon's implentation of H.264 is not efficient at all. H.264 comes in many flavors, and depending on the GOP structure, compression level, and I-frame placement, the codec can be configured to be better suited for editing or for distribution. I have no doubts that RED will provide a workable solution.Quote:
Originally Posted by Thomas Koch
I know it's a little off topic but...
Has any of what I mentioned in my post a couple of pages back with regards to a database centric, workflow management system from script to post been discussed here before elsewhere?
If so did anyone come up with worthwhile solutions or thoughts on whether it would really be usefull and could be actually be implemented?
I only posted it here because it kind of fits in with the workflow theme that the proxy modules raise.
Okay, glad to see others have got excited about the possibilities back around page 8 or 9. I skipped to the official RED posts. :emote_couch:
Loving this module though.
Like some others I think it would be great if you could record Prores to CF and stream h264 at the same time from it. - great wifi monitoring and dailies takeaway and interfacing possibilities + nice editing codec for offline or even online for programmes that don't need more for broadcast delivery.
For the person a ways back wondering about webcasting I'd imagine it would also do the 720P mode too which would be a little closer to webcast standards, you could always step down very gracefully from 1080 to SD anyway through cheap boxes or cards like the matrox MXO2 mini though always nice to have it in one unit.
I could be wrong, but my guess is this a new (in terms of planned development) module and using H.264 is in order to announce the product while they negotiate an appropriate license for ProRes or DNXHD (I'm pretty sure these would both require licensing agreements.) Do not worry, these other formats are certainly on their way.Quote:
Originally Posted by Häakon
The Canon HDSLR codec is obviously optimized for recording rather than editing. It sucks for editing. It goes at 5 fps on a Core 2 Quad and Sony Vegas in preview mode. I have noticed though, that switching from 32-bit to 8-bit depth almost makes it real time (20 fps).