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(Page 2 of 2 pages for this article < 1 2) Filed under: Red’s new approach - modular digital stills and motion cameras - 8 new modelsEIGHT new cameras announced today from Red - new lenses too!
Some additional Red Event: Ted Schilowitz, Red’s “Leader of the Revolution” gave a talk on the Fox lot today, here’s my notes- showing new stuff, screening new footage, screening the reel from the 4K reel (we’re watching HDCAM SR 1080p) LOTS OF NEW STUFF - Che, very little left over from original reel “for a young company that doesn’t really know what we’re doing, we seem to know what we’re doing” “I’ll probably get some stuff wrong…the organizational part will come later” “All specs subject to change, count on it” “we’re a development company, we like to sell stuff, but at our core we like to build stuff…anything we do at any point in time is subject to change” Luke from Apple and Michael from Plaster City originally said they’d never hit the price point and specs - keep your eyes open shipping for 1 year, all over the world, to 67 countries, less of a traditional company, more of a ride (more of a roller coaster) -2 years development to frutition to shipping it in mass -not afraid of that dynamic, to ride the razor’s edit -the first year, Ted had renders of what the Red will be -the first Red “One” was a wooden box with a bunch of boards, had a slice of a sensor -Guerilla, The Argentine, Game, The Informatnt, Beyond a Reasonable Doubt, Knowing all shot on Red Soderbergh shot in the jungle with the pre-release cameras -Game by the Crank guys is in post, a couple of thousand effects shots -The Informant shot with Matt Damon on Red, The Girlfriend Experience shooting on Red -BARD stars Michael Douglas is in final DI and testing -have a filmout we might get to see -BARD shot on 6 Reds -Knowing shot in Australia with 7 Reds, Alex Proyas directed, Nicolas Cage - all of these could have shot 35, shot Red instead, even at that budget level -(Donnie Darko 2) -small screen - tons of commercials shot on Red SO, IN DEVELOPMENT: SPECS AND DATES ARE SUBJECT TO DRASTIC CHANGES. COUNT ON IT AND YOU WON’T BE DISSAPOINTED (so dates will slip) Scarlet, Epic, the DSMC system DSMC = Digital Stills and Motion Cameras Scarlet and Epic were announced Scarlet little sister, Epic big brother Epic was to be a 5K sensor around $40K, could step up from Red One went back to drawing board, felt that wasn’t a big enough step forward a system all based around DSMC system the brains are about the same size epic isn’t that much bigger is just the brains stills camera that shoots motion, a motion camera that shoots stills Red One wasn’t a video camera, was a still camera that shoots motion - pushign that to the nth degree - learned about what works - is a RAW progressive frame making machine -over 2 trillion possible configurations -3K, 5K, 6K options -have a range of cameras, all living inside the Scarlet (or Epic) bodies -the first two use 2/3” sensors -the two differences: one is a fixed 8x zoom, the other has interchangable mounts (C, Red minimount, and something else) - 1-120 fps -the lenseless is $2500, the fixed lens don’t have a price point yet -fixed lens biased towards the wider 5K camera is 14MP, is S35 sized 1-30fps the FF35 is 1-30fps, 6K will have a 24MP sensor many of the configs imply configuring as a digital still camera that can shoot video as well -the fixed lens (image 121) - the back piece comes off and remote it from 100 feet away -the lens itself can do zoom, focus, and iris electromechanically -the tactile feel of manual focus is possible too -122 - in cinema mode with this thing -123 - the handle itself can mount stuff, put addl 12V batteries -an IO module slides int ethe middle, (DO THESE SLIDE/LOCK TOGETHER, BOLT TOGETHER, OR WHAT?) -new electronic super high res viewfinder in 124 - what res? - can use the existing LCDs and stuff on this as well - so 720p -the left side module is swappable for CF, SSD module, keep being updated and modified -is a self contained shooting unit, no tethering required -a lot of the Red accessories connectable -126 - the lineup, the fixed lens model is a little deeper -targetting for “a little less than a year” -the reel was at Redcode 28 or 36, these devices have more advanced Redcode - go Redcode 42-this is on the Scarlet S35 and the FF35 are 7K and 12K Red is between 10 and 11 stops Monstro 13 stops Redmount is their electronic mount -the only sacrifice for Scarlet is frame rate (limited to 30fps for S35 & FF35) -5, 6, & 9K Epic is 5K, 6K, and 9K S35 is 5K 1-100fps FF35 Monstro 6K 1-100 fps 9K 1-50fps 645 Monstro this is really for the high end pro market note the bricks (brains) get bigger -132 - has the same controller that works on both sides - can have TWO of them - one for asst, one for operator (Scarlet could live this way too) -133 - center of gravity is in an interesting place - can grow in and out as neccessary -134 - two batteries and module -135 - a Scarlet here, but Epic could be there too up to Redcode 225 (asked the frame rate thing, the counting way is different from the Red One) -Epic is now 28K for 5K 1-100fps, can trade in for $10K to get Epic, for FF35, is 6000x4000, $35K 9K is 1-50fps, is medium format (137) - 65MP images at 50fps, can be cinema or stills, shoot billboards - doing sports or fashion to pull a high quality moment in time - -Chris shoots both - (guy next to me) -the wheels are off - can go up to ultra ultra hi res -617 - if 645 was vistavision, 617 is about 2.5x times Imax, 261MP, Redcode 500 -16 bit, 13 stops, digital imax on steroids - AND CAN SHOOT IT HANDHELD -shoots 25fps at that res -accessories move forward -LENSES -electronic lenses, their own mount for it -stabilization - can’t answer yet 152 - Red mini mounts - tiny lenses -my bloody valentine shot 3D with Reds with a mirror rig -talk to Stuart about the interocular on the 3D rig -Nike Fincher spot, shot on 6-7 Reds, Rock Paper Scissors, (shot in part on my Red!) -10 OR 12 episodic shows around the world shot on Red, expect to see more of it for TV, to find more efficient ways of delivering post on ProResHQ -Leverage and 26 Miles shot on Red for TV -Michael Cioni from Plaster City two different ways to edit (native with reference movies) or with transcoded ProRes files -Avid pathway as well -Plaster City is data centric -make sure everyone has a little taste on all this can be done as quickly as a taep or film based workflow -For Final Cut Pro, can transcode yourself - both Leverage and 26 Miles transcoded to ProResHQ -adapting HD for working with Red - DNxHD stuff -Red & Avid, can telecine if you want via Scratch - datacine in realtime with color correction to tape for traditional workflows -DNxHD can capture as high res DNxHD 115, output for color correction, nuking assembly and reconform -can work with one light or best light dailies, is good enough for air -still have the ability to go to RedRAW to reconform -FCP/Avid/Premiere - can offline, can possibly do realtime -transcoding does NOT have to be 30x realtime, can be as fast as realtime -two workflows with Final Cut - working with native _M files - good for checking things on set or single stream editing, good for limited storage capacity -working nativel without rendering, these are 1Ks files, aren’t sufficient for broadcast -transcoding to ProRes lets you work full size (or DNxHD in Avid) - in Labor Pains, was transcoded to DNxHD with a one light color correction to tape, captured in - is GOOD ENOUGH FOR SCREENING AND AIRING -Pussycat Dolls video shot on Red, the source photography was a challenge -10-25TB of data comes in a week -there are a lot of facilities getting good at Red, to transcode into something you’re already working with -can expand the worlfow you already have into every lab - people think you can’t bridge it into other workflows, LUKE FROM APPLE - preview of work on stuff currently under development -159 - using a new plugin for Color, editing the proxies, grade with RAW controls (using native 4K files) -can output 2K ProRes or DPX (or uncompressed or whatever) -(NOTE FOR ME - CAN RECONFORM FROM PRORES TO NATIVE TO COLOR CORRECT NATIVE?) -editing realtime 2K sequence (this is new) -plugin in color Log and Transfer into FCP 163 164 - disk to disk copy, moving native files, no transcoding 2K downrezzed on the fly from the source 4K -all the Red camera metadata, mapping into the QT header file,
-can search based on timestamp for afternoon shots -all the metadata is searchable (this maybe in the new version due soon!) -all metadata -is NOT a reference file, is a freestanding QT file, no longer needs to reference the RAW source footage anymore (hooray!) -in FCServer, simulating a multi-user workflow, can check it out to the desktop, can open it up, have a sequence built from that wrapped R3D material brought in through log and transfer -working with it as you work with the material, without transcoding -he’s scrubbing - don’t see any raltime playback! -this can all happen in parallel - as soon as Log & Transfer has done it, is visible in Final Cut Server or anything - instantly available -very easy to do -what is the plugin called - the Red Plugin for Log & Transfer from Red - when available? “Very soon” -RAW to linear etc. - ask Luke about it offline -his demo is Final Cut 6.0.5, BTW (I think, went by quickly) -(transitions show better in this version in Color) -in the Primary room, there is a Red tab in the Primary room, lets me alter the Red parameters on the RAW in a non-distructive way - manimpulating the 12 bit source - -can render out to whatever you want as usual from there -a short by Russel Carpenter (Titanic etc.), is almost done, is about 14 minutes -going back to see some nature footage -Mike (??) from Adobe - Adobe CS4 - an update to CS4 (free) will let you look at 4K Red in After Efects and Premiere without any transcoding - 8 bit out of Premiere, 32 bit float etc. out of After Effects, all see the 4K natively, can play 1K natively realtime, is a global setting to downconvert to 1K ro 2K - some Vista workstations are getting 2K playback -works on PC and Mac -expect a lot of good stuff Q&A: QUESTIONS: no reflex viewing option for the high end - that is their way
-most of the optical finder (new finders will be higher res down the road) conversation went away -frame rates and resolutions -the DSLRs like D90 and 5D mark 2 are different Rodney Charters asks - adding bit depth is a big part of it, the brains are more advanced than the Red One, we’ll see the results of that - most important to us is dynamic range (what they hear from DPs) -credit for Red One - details online - if going to Epic, get a full credit of $17,500 - IF YOU WANT to keep the Red, you get 12% discount off any Scarlet you want to buy -demand will be high for the new stuff, Red One owners get priority status -a number of ways owners will get benefits -higher frame rates - as you window down, get higher frame rates -won’t get higher frame rates on Scarlet, on Epic for sure, as go down in res, go higher in frame rate - the 6K and 9K at 100 or 50 fps, can shoot full res at full rate -5K and 6K will be the sweet spot for large screen work -for current Red One owners, will probably have a wait list program, but haven’t detailed all that yet - keep watching reduser and red.com -these new bitrates for codec - tweaked from current - working on new ways to get hgher res and appropriate bandwidth to catch that resolution -there is NOT a one to one correlation to what they are doing today - is a complicated matrix -R3Ds file structure - Redcode is the heart of their effort, Redcode as a wavelet based form will be the basis for the future, but how to net that down for post and delivery will be shown later. Don’t think the current R3D is the end game - if they can get more res at the head end, will pay off later. No reason to gate the top end to worry about where the home (user resolution) is -sensitivity - likely more sensitive than Red One, but aren’t talking about it yet. Bet that everything across the baord -ALMOST complete compatibility across Epic - there’s a step-up ring to get to the thicker form factor - other than that, pieces to work across both lines -electronically - the accessories are cross compatible -moving from body to body and swapping sensors - the answer is probably, but don’t know yet, that hasn’t been discussd yet -storage capacity stays the same, so recording duration goes down (good question Jim Mathers) -ride the tech wave as it evolves - so expect bigger/faster over time -recording options are still yet to be determined -uncompressed stillls? Don’t see that as their future - when see the Redcode results, will quiet them the way the uncompressed outputs and - in the end, the orders were in the single digits for the uncompressed version - if it makes sense, there’s enough demand and biz model, but they are happy with the wavelet as the future - was great in gen 1, will get better in gen 2 -existing Red drives WILL work on future stuff - for 3K Scarlet yes, but under certain configs won’t be fast enough -PL CAN be put on the FF35 stuff, WILL be able to do anamorphics -most popular Epic? FF or S35? FF is $35K, isn’t much difference in price, that small price bump is worth it for the coverage and frame size and stuff -FF35 WILL work with traditional anamorphics - aspect ratio for FF35 -1080p multiple outputs on Epic? - YES! FF35 is full frame 4x3 sensor 2nd pass notes - the difference is the frame rates between scarlet and epic 3K can do midlevel stills with it 5K & 6K use much larger sensors, can do 1-30fps for motion picture stuff, are ultra high res cameras close to 14MP for 5K, 24MP for 6K QUESTION - HOW DO THE BRICKS INTERCONNECT/LOCK TOGETHER? more dynamic range than Red One, using DNRX technology -existing reel & stuff is at Redcode 28 & 36, the new stuff goes up to Redcode 42 -with 13 stops - getting into the ballpark with Red One, Monstro is getting close to film’s dynamic range -can have TWO remotes - one for assistant and one for operator -handheld with bigger LCD -will have newer CF modules, will have SSD modules, etc. YES can put PL mount on the 6K FF35 there’s a swiss company that makes a 617 format camera that shoots 1fps for something 2.5x bigger than IMAX doing up to 25fps on this unit is 261MP camera digital still camera that shoots movies 3K @ 2/3” they have mini-Red mount lenses, from 6.5 to 75mm they specifically designed it longer rather than wider - viable for 3D
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