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Red Epic Pro I/O now shipping...


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Chater Camera, a local NorCal rental house, just posted a picture of a Pro I/O module that they received.

To refresh our memory, Red says:

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For advanced configurations, the PRO I/O MODULE attaches to the rear of your DSMC brain to provide a central hub for essential I/O connections. Professional I/O support for audio and video is critical for large productions and the PRO I/O MODULE bundles them conveniently into one compact DSMC module.

Connections Include:

1x Genlock / PGM / Preview (BNC)

1x AES

2x 3-Pin XLR Input

1x 5-Pin XLR Output

1x Timecode (5-Pin Lemo)

1x GPIO (4-Pin Lemo)

1x Power (4-Pin Lemo)

1x AUX (10-Pin Lemo)

1x LCD/EVF Output (RED Display)

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Here's the Chater picture:

481939_10150976685517831_583380388_n.jpg

As soon as someone here works with one, let us all know what you think...

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Does anyone think that it is justified for a mixer to buy and rent this particular module out to production for shoots that require it? It doesn't really bring anything to the table for the typical shooter, as they'd rather be without it but for situations that require me to tether, I can provide the module too, does that make any sense to anyone or is it too close to home to camera department to be workable...?

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Does anyone think that it is justified for a mixer to buy and rent this particular module out to production for shoots that require it?

I don't know Tom. Beyond department lines, it seems like it'd be an infrequent rental. Productions that care might get their camera with it already. Those that don't have it might not want to spring for it. And it's a one-camera-only accessory. And do you just slap the thing on, or does it take a fair amount of configuration? And I'd be bummed if a connector on the camera or box got damaged; that could be sticky. I think I'll just keep a little list of camera houses that have the box available and, if/when appropriate, point folks in the right direction. But I haven't really thought this through...

What I think is that hanging anymore sh## on that tiny camera body will require that the fans run full bore full time just to keep the camera from exploding.

Alas, this page doesn't load correctly. Hell, it doesn't even exist:

http://www.red.com/store/products/redfridgerator

Pretty nice pictures, though.

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Does anyone think that it is justified for a mixer to buy and rent this particular module out to production for shoots that require it? It doesn't really bring anything to the table for the typical shooter, as they'd rather be without it but for situations that require me to tether, I can provide the module too, does that make any sense to anyone or is it too close to home to camera department to be workable...?

No.

CrewC

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I've already been asked by an owner of 2 Epics if I thought he should buy these for his cameras. I said that if there was anything on there that he wanted picture-wise then sure. I don't care one way or the other. I'm not buying one. I'm not sending AES to the camera, and I'm not buying the weirdo AES breakout that will be required: they got me on the RED 4 pin Lemo breakout for the camera without this thing--that's the last Epic cable I'm buying/making.

One of the touts on this camera was that it was really small, or WAS really small before they added this thing.

phil p

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I just found out there's another fan inside the Pro/IO (if I read the specs right):

http://www.red.com/store/products/pro-io-module

"Built-in ventilation keeps module at appropriate temperatures."

Hep me, pleeze... Note also that Channels 1 & 2 -- the main channels on any pro camera -- are still only accessible from the front-mounted 3.5mm TRS jacks. Crazy.

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I just found out there's another fan inside the Pro/IO (if I read the specs right):

http://www.red.com/s...s/pro-io-module

"Built-in ventilation keeps module at appropriate temperatures."

Hep me, pleeze... Note also that Channels 1 & 2 -- the main channels on any pro camera -- are still only accessible from the front-mounted 3.5mm TRS jacks. Crazy.

I'd say it's just vents. How much heat can this module produce, anyway? I wonder if it may become a benefit - acting as a heat-sink for the rest of the camera :blink:

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I try to have a pre-configured sound and time code camera kit ready when I hit the set. Toward that goal, I am now carrying several times as many specialty cables for Reds as for any other camera. It's total silliness. There are at least 9 or 10 specialty cables I need to have ready to meet all configurations of Reds, and with the latest appendages, the number increases.

To quote the final words of the classic film, "The Bridge On The River Kwai," "Madness. Madness."

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