November 30th Announcement Feedback

[Stuart English]

I have a question... Why does the RED RAY Pro have 12 channels of digital audio out?

For similar reasons that the HDCAM SR mastering format supports 12 channels of audio.

This this hint that there is a 12 channel input method somehow?

By definition if you can get 12 channels out, yes there is a way to get 12 channels in.

[Dave Blackham]

That is a really good analysis. I think we lose track of the timeframes while we are looking at the forum and the little child in us all starts to kick into high gear.

I agree with this. Buy the minute before you need it and not necessarily the top end model as they are at a premium. You don't need Apple ram either the third part ram is fine but Ill probably get shot for saying so....

[Ethan Cooper]

I agree with this. Buy the minute before you need it and not necessarily the top end model as they are at a premium. You don't need Apple ram either the third part ram is fine but Ill probably get shot for saying so....

You wont get shot by me, but I'm a cheapskate. Apple ram is way way too expensive.

[Peter Franzen]

You wont get shot by me, but I'm a cheapskate. Apple ram is way way too expensive.

As are their hard drives-- $350 to $550 for a 2TB drive is outrageous.

[Ethan Cooper]

Back on topic... turret mounts.
It's probably too late to put one on the body itself, but could one be incorporated into a handle? Are the tolerances for attachments tight enough? I'm thinking like the side handle.

[Curt Schulz]

This is something I've definitely considered myself. I think it basically comes down to absorbed costs.

Say I already own and use a set of lenses for a Canon SLR: 11-16mm Tokina, 30mm f/1.4, 50mm f/1.4. Fairly standard lenses that offer pretty good image quality (or "great" depending on who you ask). That cost (~$2000) is already paid and recouped by jobs using the lenses and another camera. In order for me to use them on the Scarlet, it doesn't really cost anything since I already own them and they have paid their way!

So for me to have three fairly good lenses to use on the 2/3" Scarlet, I'd only have to pay for the adapter - $500. $500 to use those lenses, as well as any others I'd care to slap on is a great deal for people who have invested already in Canon glass. Of course, there is the need for wider focal lengths, where I would certainly buy the RMPs - but those would need to be purchased anyway, so they don't really add any disadvantage to the overall cost.

If the 2/3" is to be an individuals only camera for some significant period of time, however, I feel they would be remiss to pass up the RMP for something else. Similarly, if I really wanted a cohesive and extremely high quality RED setup, I'd definitely go with the RMPs.

Using Canon (or any other lenses) doesn't necessitate a mistake, so long as one isn't going out and purchasing a set of these lenses brand new for the Scarlet, in which case they would be better served by the RMPs. If someone already has a set of Canon lenses they can create a mixed case of lenses for Scarlet for less than a full set of RMPs.

To be devil's advocate Michael, wouldn't it be better to get the fixed lens since it is essentially "free" when compared with the interchangeable version and buying a Canon mount? You have really nice glass for your Canon but you are losing 75% of what you see through your viewfinder on your DSLR and those wide lenses were so expensive in the first place because they are so awesomely wide---I guess you retain those great F-Stops though... Maybe save up more and invest in the S35 so you aren't sacrificing so much FOV---if you have $1000s invested in glass you might as well go the extra mile IMO or settle on the fixed until you can afford the more expensive camera (that's what I'm doing) if you want to use your Canon-mount lenses.

Someone on this board pointed me the this Wiki because I am by no means an expert on lenses or sensors:

http://en.wikipedia.org/wiki/File:Fu...e_vs_APS-C.svg

It's an example of APS-C sensor crop (which is a larger sensor than the 2/3 Scarlet) to give you an idea of what you are losing in FOV.

Would love to hear anyone else's POV on this matter...

[Todd M.]

I have a question... Why does the RED RAY Pro have 12 channels of digital audio out?

This this hint that there is a 12 channel input method somehow?

I think the audio is encoded into the RRD file. They may make a piece of hardware that has 12 discreet audio inputs, but I would be inclined to think this would be a software encoder. The great thing about tapeless formats is that you are not necessarily required to "lay back" anymore. Think Apple Compressor: one video file, six audio files and blam encoded video with surround sound. Or maybe it's just my fascination with getting rid of cables

As for the question about need:

If you were delivering to a distributor you could have 6 discreet 5.1 tracks and 6 discreet 5.1 M&E tracks.

-or-

Eight discreet 7.1 tracks and four LCRS tracks

-or-

Two sets of 5.1 tracks: one in english, one in french.

The possibilities are endless. There can never be enough audio tracks on a delivery/exhibition format in my opinion because for every one version of picture there are (in most instances) at least three different audio formats that must be delivered alongside it. One master is much easier to keep track of than multiple masters.

[Billy Gedney]

For similar reasons that the HDCAM SR mastering format supports 12 channels of audio.

By definition if you can get 12 channels out, yes there is a way to get 12 channels in.

I meant is there a way to capture 12 channels of audio with some red manufactured camera. My bad..

[Billy Gedney]

I think the audio is encoded into the RRD file. They may make a piece of hardware that has 12 discreet audio inputs, but I would be inclined to think this would be a software encoder. The great thing about tapeless formats is that you are not necessarily required to "lay back" anymore. Think Apple Compressor: one video file, six audio files and blam encoded video with surround sound. Or maybe it's just my fascination with getting rid of cables

As for the question about need:

If you were delivering to a distributor you could have 6 discreet 5.1 tracks and 6 discreet 5.1 M&E tracks.

-or-

Eight discreet 7.1 tracks and four LCRS tracks

-or-

Two sets of 5.1 tracks: one in english, one in french.

The possibilities are endless. There can never be enough audio tracks on a delivery/exhibition format in my opinion because for every one version of picture there are (in most instances) at least three different audio formats that must be delivered alongside it. One master is much easier to keep track of than multiple masters.

No- I see and love the application. I do most of my work where I need multiple audio inputs and the more I have, the less gear I have to rent. My long term hope was a multi channel I/O module where I could run like 8 XLRs in tandem with an i/o module and wham bam thank you mam- you've got 12 channels.

[Jason Beckwith]

Back on topic... turret mounts.
It's probably too late to put one on the body itself, but could one be incorporated into a handle? Are the tolerances for attachments tight enough? I'm thinking like the side handle.

A turret mount could simply replace the lens mount, whether it be mini PL, Canon, Nikon, etc. If the mount is strong enough to support the 18-85mm,
(9.9 pounds) then it can support three mini primes! And yes, the 18-85 should be supported by rails... but you get the point.

Red builds their cameras and lens mounts like tanks, so they should be able to handle a turret!

I'm still just digging the turret concept on scarlet. I think it would make the camera look bad-ass and retro...
Now if they could just figure out a use for a hand crank on the side...