Thread: Using RED for live events

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  1. #11  
    Senior Member Blair S. Paulsen's Avatar
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    From jump, RED has only supported progressive - interlace not spoken here.

    Cheers - #19
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  2. #12  
    Senior Member Michael Hastings's Avatar
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    Quote Originally Posted by Blair S. Paulsen View Post
    From jump, RED has only supported progressive - interlace not spoken here.

    Cheers - #19
    Truthfully, It was kind of cool and groundbreaking just to be able to say you used REDs on a live shoot back in the day - but its not really that special or unique any more. Unless it's a one off and you need to use your own cameras - there are probably easier and more appropriate options for 4K live Multicam production. REDs are great but "horses for courses".

    Komodo with its 4K SDI out is a step in the right direction but still progressive; and you still have issues implementing the other kit (CCU control for color matching and iris control, tally, talkback, etc.) that is the norm on multi camera live shoots.
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  3. #13  
    Senior Member Simon Dunne's Avatar
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    The WiFi on the Komodo opens so many doors. I'd really love to see the SRT protocol (with NTP) added to the firmware :)
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  4. #14  
    Senior Member Simon Dunne's Avatar
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    Looks like the Z-Cams will have this feature: https://www.newsshooter.com/2020/05/...4-price-drops/
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  5. #15  
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    Blair and group,

    Has anyone used Tactical Fiber Systems WiFi adapter for NewTek Spark? http://tacticalfiber.com/proddetail.php?prod=SPMT-PRO-V
    Me team and I are jumping into our first live-switched show and I'd love to have one or two of our cameras be untethered...

    Also bigger picture:
    I'm assuming that a Rec 709 or LUT applied 1080 signal out from the HD-SDI from our RED will play nice with the switcher (NewTek 410c) and IF and When we're ready to swap out the 1080 punched show with 4K we're in good shape.... Yes? No? Would love to hear from those that have been there, done that.

    MANY THANKS in advance!

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  6. #16  
    Senior Member Blair S. Paulsen's Avatar
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    Have not tried Spark personally and their website is short on tech specs.

    TIP: There can be a LOT of interference across the RF spectrum in many locations. Live events should have a frequency coordinator to assign and test relevant bands. Avoid 2.4GHz if possible, it's rather popular ;-)

    If you do try the Spark, please share your thoughts -

    Cheers - #19
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  7. #17  
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    Blair,
    Thanks for the response!
    RF interference: Yes definitely hear you there, the NewTek spark is an NDI based system which eliminates the concern for RF interference, but does come with it's own set of caveats...

    Did you have remote / mobile cameras on your set up you posted about in this thread? And were those live-punched or only added in post?
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  9. #19  
    Senior Member PatrickWebb's Avatar
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    I saw this the other day! on Newsshooter (https://www.newsshooter.com/2021/03/...he-amira-live/). I think this is amazing.

    I could imagine the RANGER GEMINI being a great suitor for something like this too. You would just need a studio monitor hinge for, let's say, the 9.0 monitor and a shade/hood and that would work out. Then you would need to link them all together and I guess one could use BMD switchers fine. But to get that kind of resolution over a long run, then a fiber optic system would be most likely the way to go. That would be fun. To get 4K or even 8K (with the Helium or Monstro) would be pretty mental for a delivery.

    Quote:"The Ultra HD Switcher Ready for an 8K Future!" (https://www.blackmagicdesign.com/pro...mconstellation).

    I have run an EPIC and a SCARLET with 3x Blackmagic Cinema Cameras (BMCC original 2.5K) all with SDI into a blackmagic switcher / mixer and that worked out very well. I had to adjust the RED cameras a little to match the BMCC's, but I got a pretty good result. I had 0 issues and if I wanted a tighter shot, I could crop in on the sensors of the RED's and still maintain quality. That was an interesting mix but a fun job/season for concerts.

    I wonder if anyone / studio has tried this out with the RANGER's yet? I'd be totally interested in seeing / hearing what people have to share on this.
    Patrick Webb,
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  10. #20  
    Senior Member Michael Hastings's Avatar
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    If you are looking for 4K live production it's hard to beat the Blackmagic Ursa Broadcast - utilizes B4 lenses which typically give 12 to 20x par focal zoom on a typical ENG style lens in the F1.7 range, with the ability to use the monster 80x box lenses. These lenses also have the encoders in them that provide the information needed by the live event insertion systems that give you the first down line in football broadcasts or the country flags projected onto the lanes of an Olympic swim event. The Ursa Broadcast also utilizes two (out of 16 IIRC) of the SDI audio channels to provide talkback and CCU camera control - complete color matrix adjustments, iris, etc. ALL that for $3495 (no lens). It comes with B4 mount but physically the camera is the same as the Mini Pro and the 12K so can also use the Canon or PL mounts.

    Large sensor/shallow depth of field isn't usually that desirable for most live events like concerts, sports, etc. and obviously you are limited in zoom range as well.
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