Proxy Module...

[Cüneyt Kaya]

Here is the PRORES, 16BIT TIFF and DNxHD module... works great NOW and doesnt turn a RAW Digital CINEMA camera into a video recorder

tim, a rocket is not only for dailies and offline files, imho its main advantage is to be able to grade in full debayer while the GPU can take care about the layers.

a prores module would make perfect sense...its a pretty smart move from arri with prores and pretty smart from aaton with DNxHD.

the proxy module is perfect for viewing purposes with h.264.
if you can have a prores module it doesnt kill the rocket...the rocket is for grading
(i see the prores module simply as instant-offline-datamaker-your editor smiles-module....the proxy module is the your director smiles like balu the bear while watching dailies on his ipad in the hotelroom, or having a ultralight wifi watchman, all watchmen i used suck pretty much in one or another way-----both are damn cool for the......and also a REDproxyapp would be great, which can record the wifi signal to the ipads storage....again no copying needed, .....erase a step when you can)



i even go further....let the prores module be able to get a (wifi) audio signal and sync in camera.
and let the prores module letterbox the files to the aspect ratio you did shoot and the settings you did choose on camera
put your prores files on the mac, and the raw files can be stored on your online station.

you know, the editors like to edit, they edit footage coming from various cameras (ergo, mostly no rocket in the NLE station)....the more people involved get the feeling with this camera system you can concentrate on the creative parts and not on the dull workflow parts, the more they like a system and use it.

a director pretty much gets bored, if you explain him a workflow...if you can erase steps, erase them.




NOTE: I personnaly wish an All In One system.....load r3d`s, sync bwf files, edit online, grade in the same timeline
pretty much a rocket enabled smoke in a way....no waiting no xml, edl etc. one for all.

BUT thats me, and there are people who want their editor to be happy, because their editors are highly creative, same goes for their colorists, happy=more creative

[Roberto Lequeux]

tim, a rocket is not only for dailies and offline files, imho its main advantage is to be able to grade in full debayer while the GPU can take care about the layers.

a prores module would make perfect sense...its a pretty smart move from arri with prores and pretty smart from aaton with DNxHD.

the proxy module is perfect for viewing purposes with h.264.
if you can have a prores module it doesnt kill the rocket...the rocket is for grading


i even go further....let the prores module be able to get a (wifi) audio signal and sync in camera.

put your prores files on the mac, and the raw files can be stored on your online station.

you know, the editors like to edit, they edit footage coming from various cameras (ergo, mostly no rocket in the NLE station)....the more people involved get the feeling with this camera system you can concentrate on the creative parts and not on the dull workflow parts, the more they like a system and use it.

a director pretty much gets bored, if you explain him a workflow...if you can erase steps, erase them.

QFT!

No need for a RED Rocket™ 2 either! Rocket is for grading. Want to grade 3D, go to a place with Pablo or whatever system that was that uses two Rockets.

h.264 was made for editing! ...now that we can accelerate CS5 with a $500 card. It was made for editing because it makes grading so nasty that it stops your editor (or me) from getting off track with the gorgeous imagery. It does let you grade enough to get a good idea of what you would do, and communicate that if you want by ways of a render. But it is nasty enough that nobody would finish off of it, preventing crap, since at the very very least people will be recording a 4:2:2 1080p, or doing things right and recording h.264 and REDCODE RAW!

NOTE: I personnaly wish an All In One system.....load r3d`s, sync bwf files, edit online, grade in the same timeline
pretty much a rocket enabled smoke in a way....no waiting no xml, edl etc. one for all.

BUT thats me, and there are people who want their editor to be happy, because their editors are highly creative, same goes for their colorists, happy=more creative

I agree. This would be a Rocket enabled and CUDA accelerated CS5 type situation, with AE also fully accelerated for non-insane VFX too. But I am thinking that h.264 will be god-sent, to keep you off grading when you should be cutting, and cutting, and cutting... and cutting.

[Roberto Lequeux]

lol... I didn't say STFU, I said QFT (quoted for truth)

I am talking about CS5, which promises to be amazing. I am not knocking FCP at all, or Avid, I am only focusing on CS because that is what I am leaning towards ATM (at the moment).

Read my post again and you'll see that I am agreeing with you.

[Cüneyt Kaya]

lol... I didn't say STFU, I said QFT (quoted for truth)

I am talking about CS5, which promises to be amazing. I am not knocking FCP at all, or Avid, I am only focusing on CS because that is what I am leaning towards ATM (at the moment).

Read my post again and you'll see that I am agreeing with you.

ma english, sorry, deleted post

[Roberto Lequeux]

No problem!

I'd love to know what do you think about the rest of my post though. CS5 with GeForce 480 and an i7 seems like a machine that would cut H.264 1080 like butter, and Adobe is boasting about CS5 having long form timeline stability. They said something about several thousand clip timelines being very stable.

[Cüneyt Kaya]

No problem!

I'd love to know what do you think about the rest of my post though. CS5 with GeForce 480 and an i7 seems like a machine that would cut H.264 1080 like butter, and Adobe is boasting about CS5 having long form timeline stability. They said something about several thousand clip timelines being very stable.

i used adobe products a lot (even did cut 60 hrs of footage for documentaries with premiere 1.5)

but i have a photographic memory ( i never change data names for example, i know a126_08 is scene 8 and take 8, and i never clap with numbers, always with things that i connect with the scene....for example a father son dialogue is for me a bill cosby scene)
so data management is not a problem for me....but it is a problem of adobe.

knowing how to get a testostoron PC for 3-4k, CS5 is for me personnaly interesting.
But i always hated to sync manually, this just stresses me so much i switched to fcp.

ok, adobe can read fcp xmls...you can do sync and linc in fcp and then transport it to premiere.

but if i use premiere i will do it on a PC, because i will get a T-Rex PC for the price of a average MacPro. (Dont want to have two editing stations, because datatransfer stresses me too, and premiere worked for me on PCs, not on Macs)

If mercury really works, and syncing is there, i will do it i guess.

(But again, i am beting on Marks secret NLEfinisher which he said will cost much less then a smoke hehe)

[Roberto Lequeux]

I realize that CS5 is all hypothetical now, but it really feels like Adobe took FCP's dominance seriously, and I would bet atm that CS5 will be at least 85% of what they say it will be. They sound ready to roll.

[Cail Young]

It's an SSD module for solid state drives.

[Jarred Land]

It's an SSD module for solid state drives.

correct

[Ray Palin]

Nice mock-up Thomas.

Ipad could be scriptboy/ electronic storyboarder/ teleprompter/ wireless monitor - recorder/ alternative RED mote/ remaining media calculator/ stopwatch/ good takes - log device, etc. Can anyone do a photoshop of iPad as an on location quick editor of proxy video for later EDL export?

Awesome news!!!!