Working in TV - loosing Epic work to the other brand due to transcoding costs/ time

[Curt Pair]

The only way to combat the argument is stop them dead in their tracks.

Whenever I shoot I include transcoding as part of the price. Not an option, not an extra, just $X to shoot and your footage will be delivered same or next day in whatever format and resolution they like.

With the Rocket it's a breeze.

Here, here Jim! I do the same thing! I think this is the ONLY way to do it! In fact... I believe that truly producers and broadcasters are looking for "specific" codecs as deliverables to them! I have a client that uses XDCam HD... no problem... I shoot, grade and transcode with Adobe. No problem... I export as the "file of their choice." It's a win/win, for sure. I get to use the camera I WANT... they get great footage, and everyone is happy! I don't charge extra for it either... the Rocket is so fast, I don't have to!

[Sebastian Winkels]

Hey Mike,
I have been using the NanoFlash with high success. I usually record my Scarlet at 220 Mbps. I know it is an 8 bit recorder, but it works great.
Any questions please contact me.

Hi James,

I would really like to know more about your experiences with the scarlet/nanoflash configuration.

I'm aware of the advantages of the pix, but the weight of it is a drawback for me.
I also don't plan to go back to r3d's later if I use a prores recorder.
(It's only for clients that demand HD MFX files for their workflow and don't want to transcode or work with Premiere.)

If you'd feel like answering some questions, it would be much appreciated!

1) Does start/stop triggering work with the nano and how reliable is it in the field?
2) I use dual system sound and have a scratch mike on the scarlet (therefore sound on the sdi-out is not reliable, sometimes nothing is even recorded...)
How do you deal with syncing sound files from the 744T? Does the nanoflash record the Scarlet's TOD TC via the sdi-out?
3) Any picture / sound delays or TC drifts that make things more complicated?
3) What's the best way to do TC jamming between the 744t, Scarlet and the nano?
4) Any advice for cabling or powering the nano (I would like to use the D-Tap on my brick adapter)

Thanks so much for helping on this!!

Cheers,
Sebastian

[Matthew Love]

I'm on a job right now with 2 Epics and 1 Scarlet (5k HD, 4k HD, 8:1 23.98) and am color matching and transcoding on set to prores 422 hq for editorial and am supplying post with more material than they are able to keep up with (i send out a shuttle drive with synced audio 45 minutes after wrap with all cameras having a matching "look"). The Post Producer who visited set yesterday said "I usually hate a RED workflow but youve really been able to keep us working." I hope along my travels I can help convert more and more producers that I come across that don't understand how quick RED turn around CAN be, with the right tools.