RED RAY PRO PLAYER - 4K server - ALIVE!!

[M Most]

Perhaps so, but I suspect that there may be some compelling reasons that a significantly cheaper, yet as fully functional, alternative might cause even some of the "big boys" to find some significant usage for it.

You can buy a DCP server for under $15K, you can build one yourself for less than that, and the tools for making DCP's run the gamut from full, JPEG2000 accelerated systems down to open source tools that are free.

This has absolutely nothing whatsoever to do with cost.

[Steven Caesare]

You can buy a DCP server for under $15K, you can build one yourself for less than that, and the tools for making DCP's run the gamut from full, JPEG2000 accelerated systems down to open source tools that are free.

This has absolutely nothing whatsoever to do with cost.

A 4K DCP server for under $15K? hardware and software, ready to go? With enough storage to hold a feature-length film and the requisite output cards to drive 4K projectors? I've not priced them, but had not been under the impression they were that inexpensive.

There's a thread here on Reduser that, if that poster's experience is anything near typical, indicates the "freely avialable tools" route is anything but straightforward.

-sc

[M Most]

A 4K DCP server for under $15K? hardware and software, ready to go? With enough storage to hold a feature-length film and the requisite output cards to drive 4K projectors? I've not priced them, but had not been under the impression they were that inexpensive.

There's a thread here on Reduser that, if that poster's experience is anything near typical, indicates the "freely avialable tools" route is anything but straightforward.

I didn't say it was straightforward, or that you didn't have to know what you're doing. I said it wasn't about cost. Quite frankly, in the professional world, it's not a requirement that everything be simple enough for a child to do it. It's generally assumed that people doing this level of work understand it. I don't think that's asking a lot.

As for storage requirements, a typical DCP is under 150GB. At today's storage prices, that's not very demanding in terms of either hardware or its cost.

[Jody Neckles]

I was at RED in OC in December. I also was lucky enough to see 4K material projected from a RED Ray at 15mb/s.... The images were mind blowing.

It occurred to me RED is much more than just a camera company..... just think about what can be done with a 15mb/s data stream.... certainly I believe the biggest shockwaves are still to come and i'm betting its got nothing to do with cameras.....

[Deanan]

What you and I (and, quite frankly, Red) think doesn't really matter other than as a fun game of conjecture.

Not conjecture but actively participating and driving change... along many others that we work with from studios/post/directors/DPs/distributors/manufacturers that are pushing 4k into real projects.

A good analogy is how top athletes anticipate and act on where they need to be rather than act solely in the present.

[Steven Caesare]

I didn't say it was straightforward, or that you didn't have to know what you're doing. I said it wasn't about cost. Quite frankly, in the professional world, it's not a requirement that everything be simple enough for a child to do it. It's generally assumed that people doing this level of work understand it. I don't think that's asking a lot.

As for storage requirements, a typical DCP is under 150GB. At today's storage prices, that's not very demanding in terms of either hardware or its cost.

I'm not suggesting it need be easy enough for a child to understand it. But clearly there is a cost and time (and time is money) associated with high-end distibution today, and if something comes along that is simpler/cheaper yet provides the functionality necessary, it often supplants the more expensive/cumbersome predecessor. Or at least finds a home right along side it.

Do you have a link for a sub $15K DCP server that does 4K? I've done some online searching, but haven't found one.

-sc

[Scott Snare]

A device like this will be a game changer for the festival marketplace. Having high quality delivery on a portable device will reduce costs for both the film maker and the festival. Both want high quality, low costs and flexible presentation alternatives.

[Tim Whitcomb]

Suffice to say ... RED is a bigger company that it was even six months ago. They CONTINUE to expand their team with dynamic, brilliant engineers - and they are playing for keeps.

fuck yeah man. 4K digital distro is where its at fo shizzle.

Mike, please think about it from the EXHIBITORS mindset for one second.

The experience is all about the sizzle brother. Especially if it brings more peeps and lets me sell more $5 cokes and $5 popcorns...know what Im saying?

right now its 3D,

But next is 4K is where my $ is riding and the shit (even Arri) is getting cheaper

Rock on

[Jason Diamond]

Do you have kids? Then you live in the future.

Regardless of technology this is one of the truest statements I've heard in along time.

I live in the future every day... The history of the future is on the wall.

[M Most]

Not conjecture but actively participating and driving change... along many others that we work with from studios/post/directors/DPs/distributors/manufacturers that are pushing 4k into real projects.

I understand, and I applaud the effort. However, allow me to ask the question(s): Is Red prepared to open source their codec? Does the system handle any current or future color space? Is the security model based on open, documented standards? Because quite frankly, I just don't see the DCI consortium members going for anything controlled by only one company, or anything that isn't completely documented in freely available documentation.

I have no problem with pushing things forward. But quite frankly, the current format already supports what you seem to pushing for, and it fulfills all of the criteria I just mentioned. If I'm wrong, I'd really like to know where.