PRO IO

[Mike Kushner]

[QUOTE=Stuart English;990844]If you mean a properly scaled 1920 x 1080 clean feed with graded REC709 colors so you can feed an Atomos or Sound Devices recorder etc - yes that's there now, from both the Brain and the PRO I/O.[/Q

Does "properly scaled" mean that the image will be full frame on a 16 x 9 monitor with no letterbox? Will there be a 5K, 16 x 9 resolution that outputs a true clean feed? That is desperately needed according to all the posts about that issue.

[Stuart English]

That does not solve the problem of 1/8" audio inputs on a $40,000 camera. I can kind of understand this on a $4000 prosumer camera -- not a camera like the Epic. I'm sorry, guys, this is really a bizarre shortcoming on an otherwise commendable camera. I continue to be perplexed at Red's indifference to audio with your products.

Everybody kind of got used to the TA3 (mini-XLR) connectors on the Red One, and I kind of accept that you have to go with this from a space/design point of view. But a 50 cent mini plug? Come on. You guys are better than this.

I continue to be puzzled by this urban myth that we don't care about audio quality.

4 discreet audio channels - check

24-bit 48KHz sampling - check

Available +48V Phantom power - check

Wide dynamic range - check

Soft limiter - check

Spot on Audio / video Sync - check

Stereo headphone jack - check

Available full size XLRs - check

Available Line in at 0dBu or 0VU reference

Available dual channel line out - check

Available LEMO Timcode In and Out - check

Timecode cross Jam - check

Available AES / EBU digital audio inputs - check

Embedded audio in HD-SDI and HDMI - check

Wireless audio ingest in development - check




It isn't possible to put XLR's on the brain. OK I get that point - however it is still full spec audio quality and you do have the option of the PRO I/O modules, which if you add that to the camera is still smaller than competing professional cameras.

[Mike Kushner]

I can't get a good audio signal into the brain without a special mixer that attenuates a very non-standardized level. Industry standard mic level and industry standard line level just don't make a saturated, robust audio level...and the headphone output is just plain anemic. Ten years ago i bought a DVcam for a couple of grand and right out of the box the audio was clean, easy and had standardized levels. In this day and age a brain that is a real pain to get audio to is no fun at all. ...and the handling noise from the little mini connectors is quite discouraging. So, yes...there are some audio issues to be addressed. it's not an urban myth.

[Adrian T.]

It isn't possible to put XLR's on the brain. OK I get that point - however it is still full spec audio quality and you do have the option of the PRO I/O modules, which if you add that to the camera is still smaller than competing professional cameras.

It would still be awesome if you allowed line level audio on the brain inputs. Audio quality is decreased by using external attenuators, and buying/renting/using the Pro I/O just to have two line level inputs is not always an option.

(even my consumer DVX100 nine years ago had balanced line inputs)

[Mike Kushner]

If you mean a properly scaled 1920 x 1080 clean feed with graded REC709 colors so you can feed an Atomos or Sound Devices recorder etc - yes that's there now, from both the Brain and the PRO I/O.

My Epic's output generates a letter box and pillar box on the 4K HD, 16 x 9 setting when viewing on the monitor. (black bars around the sides and top and bottom of frame) Is that "properly scaled"? Or was there a change in a firmware update that i missed? Thank you to any of the Red engineers that can shed light on this.

[Shane Kelly]

My Epic's output generates a letter box and pillar box on the 4K HD, 16 x 9 setting when viewing on the monitor. (black bars around the sides and top and bottom of frame) Is that "properly scaled"? Or was there a change in a firmware update that i missed? Thank you to any of the Red engineers that can shed light on this.

I believe it's coming in about 2 weeks in the new software build.

[Adam Howden]

Is there a way to record just the audio stream from 3 & 4 but not have two blank audio channels appear in the 1 & 2 section of the R3D?

[Matt Gottshalk]

Is there a way to record just the audio stream from 3 & 4 but not have two blank audio channels appear in the 1 & 2 section of the R3D?

+1 Remapping 3&4 to 1&2 through the menu would be sweet.

[Mike Halper]

+1 Remapping 3&4 to 1&2 through the menu would be sweet.

+2.

[Paul Ellington]

I continue to be puzzled by this urban myth that we don't care about audio quality.

4 discreet audio channels - check

24-bit 48KHz sampling - check

Available +48V Phantom power - check

Wide dynamic range - check

Soft limiter - check

Spot on Audio / video Sync - check

Stereo headphone jack - check

Available full size XLRs - check

Available Line in at 0dBu or 0VU reference

Available dual channel line out - check

Available LEMO Timcode In and Out - check

Timecode cross Jam - check

Available AES / EBU digital audio inputs - check

Embedded audio in HD-SDI and HDMI - check

Wireless audio ingest in development - check




It isn't possible to put XLR's on the brain. OK I get that point - however it is still full spec audio quality and you do have the option of the PRO I/O modules, which if you add that to the camera is still smaller than competing professional cameras.

Yeah and us pros have been using dual systems forever, the pro io is gravy... The Size of the Epic/Scarlet alone should make u go wild with excitement.