4k / 2k PRO RES / DNxHD MODULE - who wants one.

[Oscar G]

+1.

This would be great.

[Stephen Mick]

Want.


Need.

[Ed Riew]

+1. I think having the option to shoot RAW or ProRes, or both together is great. Having options is where it's at. I'd prefer this as a module too, because it's one less clunky device strapped onto the rig (like a KiPro or 240). While those devices are great, they need their own power supply, and signal, which means more wires (which means more wires to get unplugged by accident). Eliminating the video and power cables is just better all around, and the firmware could likely be updated to account for future efficient codecs.

[sergio arguello]

so long over due...Mark you have it made...without WI-FI it couldnt be too hard.basically an enclosed sound device pix 240 the only tricky part is seeing the menu on the 5" monitor but that cant be rocket science as the pix already has dialougue with the Epic. The only backlash for me is i dont have the Directors weight you do and agency will end the post process at Prores and im gonna have to shoot to handcuff them in mind more often...my thoughts

[Bruce Allen]

1. Records DNxHD or ProRes - 4K, 10 or 12 bit RedlogFilm.

2. Writes to consumer SSD drives (like Blackmagic HyperDeck - which seems to manage 150MB/sec write of random video data using $300 256GB SSDs - eg plenty datarate, no problem)

For bonus points:

3. Optionally sticks a 3D LUT on your RedLogFilm output and pipes that out via HD-SDI (so you can record RedLogFilm but give a client feed in a format that represents the look you'll go for)

4. Has Sound Devices preamps, VU meters, gain knobs and headphone monitoring. Completely bypasses Red's audio pipeline and just writes whatever comes in those pres to the DNxHD / ProRes file.

Then I'd buy a Scarlet and nothing else. Skip the SSD module and expensive proprietary SSDs (nearly twice the price of Sony's media for the F65 WTF?!). I can rent 'em later if there's ever an actual need to shoot "real RAW".

Hmm... maybe that's why RED hasn't done this yet! We have been asking about this for years...

Bruce Allen
www.boacinema.com

[Scott Brown]

I totally think this makes sense.

Much as I love the RAW workflow, 100% of what we shoot gets immediately converted to ProRes . This is where Alexa is winning over RED for the TV drama work here in the UK as it can output edit ready media immediately.

I'm also concerned about the very high costs associated with RED SSD media art the moment. I'm all for a healthy mark up and profit but RED's margins on this must be VERY high. It seems crazy to sell Scarlet at such a reasonable price and charge such a premium on the media.

Scott

[Martin Weiss]

+1,0000,000...........,

You just entered into a legally binding contract over the purchase of 10 million units.

Thanks you for your business.

(And I would love ​one as well.)

[M Most]

I totally think this makes sense.

Much as I love the RAW workflow, 100% of what we shoot gets immediately converted to ProRes . This is where Alexa is winning over RED for the TV drama work here in the UK as it can output edit ready media immediately.

Many here keep saying that, but at least in the US, on network/studio level shows, it's just not true. Nobody uses ProRes444 in LogC directly for editing. Every show I know of goes through a transcoding process to convert to either DNxHD36 or DNxHD115, add a normalizing LUT and/or color correction, and also to sync double system sound. What makes the Alexa attractive for TV work is its simplicity. When those transcodes happen, there aren't choices to be made as to gamma curve, color matrix (well, sort of, it's usually included in a normalizing LUT), and the myriad of other settings. With Red, you get power, the ability to change the parameters of what was shot. But with power comes complication and the need for understanding exactly what it is you're doing. With Alexa, you get a ready to transcode log format file that doesn't require you to change or understand anything, which eliminates complication, opinions, and mistakes. It also can be displayed directly in its native format on any standard monitor. And it doesn't require any proprietary hardware to play or transcode at full speed.

It's the simplicity, not the "edit readiness" or lack of it.

[Jason Diamond]

+ ∞ !!

​please

[Steve Wake]

I like Bruce Allen's list. Maybe this thread will convince SD to attempt it. Third party modules are not out of the question. A year or so ago Jim said a third party was working on a module. Never heard what it was, or any follow-up, but apparently RED is/was willing to cooperate with third parties on module development.

Originally Posted by Steve Wake
Hey Matt,

Since you're hanging out here tonight, here's a question: would it be of any interest to Sound Devices to make a Pix 240 with a RED module form factor, taking advantage of the pins that go directly to Epic/Scarlet Brain circuits? No screen, but instead interface with RED's menus. Same audio inputs as PIX/MixPre, plus maybe also more MixPre type functions - limiters, test signal, knobs, led meters. Power from RED supply.

How many would you have to sell to make it viable? I think a lot of Scarlet owners will have customers who just want 1080p files for quite awhile. 4K is the future, but the transition will be lengthy for certain sectors.



Steve,

Sorry, too many forums and not enough time...

Of interest? Sure. But we would obviously have to get the blessing (and technical info) from Red to do it. I'm not involved in any of those higher level manufacturer-manufacturer discussions so I can't even begin to say whether it is even a possibility.

Matt Mayer
Sound Mixer
Applications Engineer
Sound Devices, LLC