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I don't really want to use their TC app, and I don't really want their module thing on my cart and certainly not in my bag. So here's another iPad-based method for TC and notes etc, that assumes that everyone will be on their system. Is it compato with MovieSlate? Does it talk to the Ambient system? Zaxnet?

phil p

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So... They're bashing on their previous products cus they required a load of cables? How's that for mocking customers...

And.. I listened to this on my iPhone speakers, didn't notice any fans at all, but that epic sure was running.. Is that a miracle or just a very special red?

I don't know. This video basically told me "we're red and we released a new module that is really what you originally wanted and now your other rigs look stupid".

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No, the Epic can "theoretically" do 4 channels, though I don't know a lot of people who've tried it. I'm disappointed that they still haven't addressed the 3.5mm inputs for Channels 1 & 2, which I think are embarrassing for a $40,000 "pro" camera.

Note also that the Meizler Module costs $12,000 and essentially adds the ability for the camera to capture 4K/5K RAW images and a lower-res copy (DNxHD, ProRes, etc.) for offline editing, as well as XLRs for Channel 3 and 4 only, extra video outputs, wireless video transmitter, and a wireless camera hop receiver (using an as-yet undisclosed protocol). It's fair to say a lot is up in the air on the module, since it's not shipping yet.

It's clear to me that they're adding the Meizler Module to meet or beat the Alexa's features, since that camera's recordings can immediately go right into the workflow pipeline without conversion for editing. Many, many TV shows are going this route simply to save time. The shows I see shot on Alexa look dynamite, despite much grousing by some Red users. I think both Red and Arri's cameras can make great pictures, provided the DP knows what he or she is doing.

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No, the Epic can "theoretically" do 4 channels, though I don't know a lot of people who've tried it. I'm disappointed that they still haven't addressed the 3.5mm inputs for Channels 1 & 2, which I think are embarrassing for a $40,000 "pro" camera.

Note also that the Meizler Module costs $12,000 and essentially adds the ability for the camera to capture 4K/5K RAW images and a lower-res copy (DNxHD, ProRes, etc.) for offline editing, as well as XLRs for Channel 3 and 4 only, extra video outputs, wireless video transmitter, and a wireless camera hop receiver (using an as-yet undisclosed protocol). It's fair to say a lot is up in the air on the module, since it's not shipping yet.

The Meizler Module doesn't have XLR's on it. That's the Pro I/O. The audio I/O(?) on the Meizler Module looks to be a 5-pin Lemo. Awesome </sarcasm>. There also seems to be a BNC for timecode.

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From Red sight:

REDsync Master - $2900

Weight: Aprox. 1lb

Features:

RF ISM Band Transceiver 865MHz/915Mhz for wireless audio and timecode

Deliver audio stream to multiple devices

802.11b Transceiver

Receive and deliver timecode and metadata to multiple devices

Able to connect up to 14 devices

Supported FPS modes: 23.98, 24, 25, 29.97, 30, 29.97DF, 30DF.

Output sync modes: PAL, NTSC, 720p, 720p double frame, 1080i, 1080p, 1080i double frame, 1080p double frame

V Sync and H Sync Output to Camera

Timecode Output to Camera

Timecode output to audio recorder

2 channel guide audio input for RF datalink distribution to camera(s) and other devices

Interface to iPad, iPhone & iTouch apps

Physical Interfaces:

External Power

Timecode input

Timecode output

Output Video Sync

48Khz 16bit audio input

Internal Power: 2 x ‘AA’ batteries

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The Meizler Module doesn't have XLR's on it. That's the Pro I/O. The audio I/O(?) on the Meizler Module looks to be a 5-pin Lemo. Awesome </sarcasm>. There also seems to be a BNC for timecode.

Pardon me -- you're absolutely right. In fact, I'm not sure if you can stack the Pro I/O and the Meizler Module together or not. That'd be a very long camera, even longer than the Arri Alexa.

I think there's a separate discussion elsewhere on the Red Epic Pro I/O module, with an early prototype picture I grabbed.

RF ISM Band Transceiver 865MHz/915Mhz for wireless audio and timecode

802.11b Transceiver

It's Wi-Fi? Gee, I expected something a little more robust. I hope this will work...

I'd like to know what they're going to charge for additional receivers. I'd hate to have to spend $2900 each for the sound department, for a slate, for the script supervisor, and for the Video Assist. It seems to me that Time Code Buddy is a much lower cost system (which admittedly doesn't do as much).

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I don't have experience with RED cameras but

for the sound I think the maximum cables is three.

One for timecode, two for audio.

RED maybe believe all of us we are idiots (included camera op).

The Meizler is not only for sound.

http://www.reduser.net/forum/showthread.php?85218-The-Meizler-Module-The-Details&highlight=meizler

You have more cables if you do Wireless Focus/zoom/iris/HDSDI video out (or use a camwave)/ TC / and record sound to it.

@ Marc

it doesn't record 4k QT.

From Jarred:

I can't tell you all the formats, (except for H.264 and DNxHD) .. but I can tell you some resolutions..

720p - 4:2:2 @ 24 & 60fps

1080p - 4:2:2 @ 24 & 60 fps

2k - 4:2:2 @ 24 & 60fps

2k 4:4:4 will become enabled early 2013.

Here for the synch possibilities:

  • Switch from internal or external timecode

    • Internal timecode – Receive wireless timecode from REDsync Master (optional purchase)
    • External timecode – Receive timecode signal from an external source (i.e Lockit, Denecke and etc) via a BNC and genlock is produced internally

The Meizler is a great add on. If you don't like it, don't care so much about it.

Pat

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" a wireless camera hop receiver (using an as-yet undisclosed protocol). "

their own, aka proprietary.

" RF ISM Band Transceiver 865MHz/915Mhz for wireless audio and timecode

Deliver audio stream to multiple devices "

(this is not WiFi)

" 802.11b Transceiver

Receive and deliver timecode and metadata to multiple devices "

this is WiFi, and appears to be a separate transceiver, as it is also a different freq. band.

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Did anyone else have a hard time distinguishing the camera and accessories from the background. For a camera company you'd think they would know how to not crush the blacks.

All they need is a little backlight to add some separation between the foreground and background. I hate when people don't do this. Lighting 101.

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