PRO IO

[Bob Gundu]

has anyone posted pix of the other side of the PRO IO module? Any ports there?

Nothing on the other side. It would poke into your head anyway when shoulder mounted.

[Marc Wielage]

You owe me lunch. I'm a sound mixer also and have had no issues getting sound into Epic, and do like working with it even when I'm just doing sound. It's scratch track anyway that should be getting replaced with better audio from the recorder.

Well... if you think it's only good for scratch track, isn't that kind of an issue? Would you be satisfied with the Epic inputs if they were your only available soundtrack?

Contact me through my website -- I'm done with my current project by May 10th, and I'm good for lunch in LA. (American or Italian dishes preferred.)

To me the real problem with the jacks will be durability over the years. XLRs are the size that they are to stand up to years of plugging and unplugging, while the type of mini plugs Red put on the Epic and Scarlet don't stand up so well to continued use on consumer devices like IPODs / Walkmen. Once the protective coating on the internal spring loaded contacts wears off the contacts oxidize and the jack will need replacing.

That's essentially my point. A 3.5mm balanced plug is non-standard in and of itself, but I guarantee you, plug and unplug it 1000 times and tell me how well it holds up over time. Now, take an XLR jack and plug and unplug that 1000 times. To me, this is the difference between a 25-cent jack (the 3.5mm) and a $5.00 jack (the XLR). The TA3 (mini-XLR) jacks are a little delicate, but they're lightyears better than the 3.5mm minijacks. I'm just disappointed that a $40,000 camera went with 25-cent light-duty jacks for the main audio inputs.

Not having the best sound on the Epic is a forgivable sin, as the Epic truly is a cinema camera targeting that consumer base. Scarlet, on the other hand, targets a user base that arguably requires top notch sound on camera as it will undoubtedly be used on projects where external full sound solution may not be affordable or logistically practical.

They're both essentially the same camera with different data rates, features, accessories, and pricing. I think the sound problems with the Epic and Scarlet are fixable over time, but I'm just disappointed that these specific issues -- the type of jacks used, headroom in the preamps, lack of true line inputs, lack of reliable monitoring -- were not addressed early on. The picture quality and flexibility of the camera set new standards for the industry; I just feel like sound was #99 on a list of 100 priorities. (Timecode might have been #100.) The Pro I/O didn't solve these problems as I had hoped.

Top-notch sound is required on everything where the audience needs to understand the dialog. Unless you're shooting a sequel to The Artist, this can potentially be a problem.

[Patrick Grossien]

I'm excited about the Pro IO because of the additional monitor and power outputs it provides. If there were a Pro IO without audio inputs... I'd buy that one instead. In my world audio has no place on a camera if it is going to negatively impact the camera in any way [size, weight, etcetera]. RED's idea to put it on a module is the best balance in my eyes.

Just a thought: maybe the flexibility of the full modular concept is not used to its full potential. Wouldn't it be even better to split the PRO I/O into smaller modules? As long as you can just attach whatever modules you need for the gig, you can switch back and forth. Like a couple of +1 like modules chained together. Maybe this is not economically efficient, and it might add some weight when fully equipped, but it would definitely by extremely modular.

Then again, maybe this is just plain stupid and inefficient ;)

[David Litchfield]

I think it would be a mistake to have the EVF/LCD port on top of the camera. It won't effect sales, but I fear it will get in the way and we'll have to say 'I don't know why they've put it there' on every shoot! Could we not lose the middle two ridges at the top and put the socket in there? Those design ridges take up the top 1/3 of that side. I'd much prefer better ergonomics over retaining the design style. The bottom ridges have already been lost. Hopefully it's not too late to be considered.

Cheers

Dave Litchfield

[Ned Wilson]

The only problem I had with our current Epic is lack of an extra SDI, EVF and D Tap output. Also, really hoped the I/O would be smaller. In conjunction with the quad it makes for a large profile. May go back to battery plates. Would have loved to see two EVF ports, that way we can use our bomb, touchscreen and the 7" for focus puller (instead of small HD). Am I the only one who's feels this way? Please be nice and don't banish me. These our just observations based on my using the Epic in the field on everything from Doc, movies to broadcast. Perhaps a smaller "stripped down" module?

[Matt Gottshalk]

The only problem I had with our current Epic is lack of an extra SDI, EVF and D Tap output. Also, really hoped the I/O would be smaller. In conjunction with the quad it makes for a large profile. May go back to battery plates. Would have loved to see two EVF ports, that way we can use our bomb, touchscreen and the 7" for focus puller (instead of small HD). Am I the only one who's feels this way? Please be nice and don't banish me. These our just observations based on my using the Epic in the field on everything from Doc, movies to broadcast. Perhaps a smaller "stripped down" module?

No, you are far from the only one. I'd buy a much skinnier pro I/o with 2 xlr, 1 extra sdi and an extra evf.

Being as big as it is defetasnthempurpose of the smaller size of the epic/scarlet.

[Vino Harris]

Can the scarlet get turned up to 240fps or 200fps for slow motion. I don't want to rent a epic just for slo mo scenes. 120fps is a joke after seeing other consumer cameras crank to 200 or 240fps like the FS 700.
hey..if I don't ask I will never know and one last thing when will we see states on the scarlet 6K or footage from the epic 6K???

[Trevor Meeks]

Can the scarlet get turned up to 240fps or 200fps for slow motion. I don't want to rent a epic just for slo mo scenes. 120fps is a joke after seeing other consumer cameras crank to 200 or 240fps like the FS 700.
hey..if I don't ask I will never know and one last thing when will we see states on the scarlet 6K or footage from the epic 6K???

no. now move on.

[soren k jensen]

+1 for a skinnier pro io w- monitor out and xlrs. I need simple and lightweight...

[Jarred Land]

Just a thought: maybe the flexibility of the full modular concept is not used to its full potential. Wouldn't it be even better to split the PRO I/O into smaller modules? As long as you can just attach whatever modules you need for the gig, you can switch back and forth. Like a couple of +1 like modules chained together. Maybe this is not economically efficient, and it might add some weight when fully equipped, but it would definitely by extremely modular.

Then again, maybe this is just plain stupid and inefficient ;)

not that easy unfortunately... you need a ASIC for each thing you are trying to do.. and an ASIC powerful enough to do something that seems simple like creating an extra RGB monitor path from a huge 5K raw then compress it all at 120fps needs power.. and power needs cooling.. which needs heatsinks, and pretty soon you get to be the size of the IO without trying.