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I’m never shooting video again.
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I should think that in ProRes, it would feel and behave the same as 1080 ProRes… I didn’t have to render any dissolves, but they did need rendering in the end. You can lower the quality of the playback too to get more RT…. but pretty much the same as ProRes 1080 actually. 2k is 6% larger a file than that is all…
Didn’t try any chroma keys, but I’ll bet they too work just fine.
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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Cheers for all the development that help us to make better pictures for less money.
What a “B camera” means? I’ve been making my living a feeding my family for some 5 years with a SONY PD-170. Now I have an EX-1. If I would have a Varicam or a F950 I would need to sell them because where I live there is not market for those machines.Mac OX 10.5.2-FC 6.02-QT 7.4.1
G5 2x2Gh 4GbRAM-BlackMagic Extreme
PMBP 17″Core2Duo 4GbRAM-AJA ioHD
JVC DTV-17″
SONY EX-1 . SONY PD170
..and always a big mess on top of the table. -
The only thing I’m going to add here is that in talking to multiple DP’s here in Atlanta who were excited to try out the Red and use it in their workflows, it just isn’t there for them.
In terms of a weekly series or shooting in many field locations like the documentaries we’re producing, they’re just not comfortable the RED is going to work for them. They feel more confident about the Panasonic HVX and Sony EX series, especially in terms of ease of use and worfklow for editing.
The universal response I heard from all of them was that this will be a great camera for films, commercial spots and studio situations where you have absolute control at all times. For run and gun type situations, this camera is not the one you want. For rugged, throw the camera in the bag and get to the next location, this is not the camera you want.
Just based on what they’re saying, the RED is not the everyday, use all the time camera that the Panny’s and Sony’s have been for the past few years. It definitely has a place in production. But I think that place right now will be with about 10% of the production market. As it evolves and pepople figure out different ways to use it, that number will grow, but right now, it really falls into a very narrow market of end users for particular projects.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!
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I think I’d be the first to agree that this is not a run and gun camera… too heavy, but the new workflow makes it like working with P2 in post. Log and Transfer (right now it’s a 3:1 affair), Edit in ProRes 2k, use a Kona 3 to convert to HD… pretty easy actually. Doesn’t take any special lighting or whatever to give it it’s look either. You must color correct it of course because it’s raw… but then you should be doing that any way no matter what you’ve shot of course.
Scarlet changes all of that… it’s a light weight run and gunner IMHO when it ships next year.
That said, I think there’s a lot more shoots than 10% that could use this camera now. Any shoot where you’d use a tripod or other camera mount I think, with a very occasional hand held shot.
It might take another 2 minutes to pack it up if you shoot with all the accessories…
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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Jeremy, one other thing I should add. I see no reason to post 4k unless you’re printing to film or you’re going to use a 4k projector.
The look is maintained in any resolution. When Ted Schilowitz showed the FCP supermeet attendees the reel, it was being projected on about a 15′ diagonal set of screens in HD. Not even 2k… They were still wowed by the images. It’s more than just the resolution. It’s the total look, shallow depth of field, the fact you can crop 75% of the picture away and STILL have full res HD, and the contrast ratios that rival film that have me set on fire… all for the cost of an average pro video camera.
2k is all that FCP can deal with right now FWIW… 4k workflow starts with an offline in FCP then a finish in Scratch… but 99% of all shoots deliver in HD or even SD.. no matter what the res, it still looks like 35… And posting in 4k to deliver HD is pretty much a waste of computing power… would look the same in the end if you edit 2k. ProRes 2k is just like working in ProRes HD… it’s a file that’s 6% larger is all. Felt like HD to me. but looks like 35mm. (not 16…. 35!)
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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well Jerry, you have me pretty much sold on this whole Digital Cinema thing … I hope you’re getting commission! sadly though, I fear that by the time I’m in the market for a new home video camera I’m guessing the Scarlet will have been discontinued :/
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[Michael Sacci] “To be fair, every professional level camera is that way, Panasonic advertises the HPX500 as a 15K camera but before you can shoot with it you will be spending at least $25K. I will grant you that everything is an extra but I think anyone that prices cameras should find this too strange.”
That’s true. Somehow, though, I think that there’s a lot more people looking at Red than looking at a Sony F23 or Panny HPX 3000 who don’t know to expect this. That’s more a product of the buzz and popular appeal surrounding Red as opposed to more traditional ENG/EFP style cameras. And that’s not necessarily a problem.
I think that Red has attracted a lot of interest from people who would otherwise be looking at a 1/3″ HDV or P2 camera, not a 2/3″ camera. When these folks get sticker shock, it’s more a measure of where they’re coming from than what Red is saying.
[Michael Sacci] “I’m totally looking forward to seeing a Scarlet when it comes out.”
Same here. It’s a great price breakthrough. The 1st “digital cinema” handy-cam!
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
[Rafael Amador] “What a “B camera” means?”
The secondary camera. Your primary camera might be a high end Digibeta camera, and then the B and C cameras, 2nd and 3rd cameras used for minor cutaways, might be DVX-100a cameras, DVCAM. The HVX-200 is a typical B-camera to the Varicam…and now the EX1 is a good one for the higher end XDCAM cameras, or even the F950.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD now for sale!
http://www.LFHD.net
Read my blog! -
Key is very nice. As ever dependant on shoot, but a flame artist I delivered dpx 2k greenscreens to said it was ‘a very clean key’.
Ben
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I entered the video world by taking a job as a system sales, my first time pricing out a Sony 2/3″ DVCAM, there was a lot of “what do you mean, x is not included” 🙂 you learn really fast about all the stuff that is NOT included.
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