Here, I will be talking about the problems and solutions for Red One Digital Cinema Camera from Shooting and Post-production floor.

Sorry for not posting any article / workflow in this blog. I’m working on a Music Concert shot with 7 Red One Digital Cinema Camera and I’m managing the entire post workflow. Meantime preparing and training people for 2 feature films which is going to be shot on Red One DCC and I am working as DIT / DAS / Post workflow consultant. In last one month we purchased  16TB Avid Media RAID, New SAS Cards, 16GB RAM, Fibre Optic Card for MacPro and Apple vPromise RAID 12TB and the list is going on. Successfully completed a 4 minute promo for the Music Concert and the release date of Concert digitally in QUBE on Dec 25, 2008. Need to complete 10 songs running for 1 hour 45 minutes and CG, Titles and VFX if any and Conforming and DI before Dec 1. Hectic Schedule. Will post the Promo in True HD in coming week.

Red ONE Digital Cinema Camera available in India with the following people.

• Nirav Shah, Chennai (Available for Rental)
• Real Image, Chennai (Not Available for Rental at this time)
• Escope International, Chennai (Not Available for Rental at this time)
• Kamal Hassan, Chennai (Not Available for Rental at this time)
• 8MM, Mumbai (Not Available for Rental at this time)
• Benchmark Systems, Mumbai (Not Available for Rental at this time)

RED One:

Tech Specs:

• Sensor: 12 Megapixel Mysterium™
• Physical Size: 24.4mm x 13.7mm (Super35mm)
• Active Pixel Array: 4520 (h) x 2540 (v)
• Full Pixel Array: 4900 (h) x 2580 (v)
• Dynamic Range: > 66dB
• Depth of Field: Equivalent to 35mm Cine Lenses (S16mm with windowed sensor)
• Acqusition Formats: 4K (16:9, 2:1) / 3K (16:9, 2:1) / 2K (16:9, 2:1)
• Delivery Formats: 4K RGB / 3K RGB / 2K RGB / 1920×1080 progressive, RGB or 4:2:2 / 1280×720 progressive, RGB or 4:2:2
• Project Frame Rates: 23.98, 24, 25, 29.97, 30 fps 4K / plus 50, 59.94 and 60 fps 3K (windowed) / plus 75 and 120 fps 2K (windowed)
• Video Preview: HD-SDI and HDMI / 1280×720 progressive, 4:2:2
• Digital Media: FireWire 800/400, USB-2 and e-SATA interfaces / RED DRIVE (RAID)™ hard disk drive (320GB) /REDFLASH™ flash memory drive (64 GB) / (CF) Compact Flash Module
• Audio: 4 channel uncompressed, 24 bit, 48KHz
• Monitoring Options: RED-LCD™ High Resolution Monitor / RED-EVF™ High Resolution Viewfinder
• Weight: Around 10 lbs (without lens, battery and viewfinder)
• Construction: Aluminum alloy

For More information visit official Red website
Visit Red User forum here for discussions

Jannard of RED has posted updates of RED on reduser.net forum.

The posted message is given below

Several weeks ago we put the RED ONE on an engineering delay to re-design and fab a new sensor board. We have taken this delay time opportunity to improve many other pieces of the electronics puzzle. We are now putting all the pieces of the puzzle back together to prepare for a production camera. This is an incredibly complex project and the last 5% is much more intense than we had ever imagined. But the camera gets better every day.

1. I will not give you our new timeline tonight. I need a few more facts from several suppliers to finish the timeline and should have everything I need to present next Friday. (I hear the collective “ugh”)

2. The production camera will be released with core features enabled. Additional features will be enabled by software updates. A projected schedule of those updates will be posted along with anticipated serial number deliveries next Friday.

3. We are now placing a handful of Beta prototypes (named but not serial numbered) before production begins. The primary purpose of these cameras will be to shoot major motion pictures by some of the most recognized professionals in the industry. These cameras will have minimum features… not enough for a production release but more than enough to shoot a high-budget film. These projects will give us the most thorough and comprehensive field testing a camera has ever been subjected to. We will have our field reps present at each project to watch over the production, baby-sit the cameras and workflow and give important feedback for any final changes that will go into the production cameras.

4. We plan to move as quickly as possible to production cameras. We are not looking at next year. We are not looking at the end of this year to begin production. I will fill in the details of what we are looking at next week.

I don’t like this delay. I do like taking enough time to make sure the camera exceeds expectations. We fully understand that we are testing the patience of some of our customers. If you are nervous, we will promptly refund your deposit “plus”. We appreciate, more than you know, those that are hanging in there with us.

Jim

For more information, discussion and updates regarding RED Digital Cinema Camera visit reduser.net forum.

Installing Your Final Cut Studio 2 Software (05/18/2007) – 15pages – 290kb
Final Cut Pro 6 User Manual (05/16/2007) -2033pages – 47.2MB
Final Cut Pro 6 Working With High Definition and Broadcast Formats (05/16/2007) – 112pages – 1.2MB
Final Cut Pro 6: New Features (05/16/2007) - 10pages – 58KB
Apple Qmaster 3 and Compressor 3 Distributed Processing Setup (05/16/2007) – 86pages – 2.2MB
Cinema Tools 4 User Manual (05/16/2007) – 256pages – 3MB
Compressor 3 Batch Monitor User Manual (05/16/2007) – 9pages – 209KB
LiveType 2 User Manual (05/16/2007) - 157pages – 3MB
Compressor 3 User Manual (05/16/2007) – 346pages – 5.4MB
Motion 3 Supplemental Documentation (05/16/2007) – 114pages – 2.8MB

courtesy Apple

Overview of HD formats

Because of the multiple frame sizes, frame rates, and scanning methods supported by the latest high definition video specifications, there are a large number of high definition formats currently available. While the most commonly used formats are described below, many other variations exist today

1080i60

This is a common broadcast format that is compatible with standard definition NTSC video.

1080i50

1080i50 is compatible with standard definition PAL video.

1080p24

1080p24 is sometimes simply referred to as 24p and is considered by some to be the most flexible frame-rate choice because it is possible to transfer to NTSC video, PAL video, and—perhaps most important—film. Choose this format if you plan to transfer your finished video to film, or if you are trying to emulate a film look on your final video. This format is similar to 720p24, but with much higher resolution.

720p60

This format is smaller than 1920 x 1080, but the smaller image dimensions decrease the per-frame data rate. This means the frame rate can be doubled compared to 1080i formats without significantly increasing the data rate.

720p30

720p30 is a particularly flexible format because it is compatible with standard definition NTSC video (because it has a matching frame rate of 29.97 fps) as well as streaming and downloadable video (because it is progressively scanned). Because of the progressive scanning, 720p30 is also useful when you need a video format that can output high-quality still frames.

720p24

720p24 is sometimes simply referred to as 24p, and is considered by some to be the most flexible frame rate choice because it is possible to transfer to NTSC video, PAL video, and film. Choose this mode if you plan to transfer your finished video to film, or if you are trying to emulate a film look on your final video.

HDV

HDV is a new high definition video format created by a consortium of manufacturers including Sony, Canon, Sharp, and JVC. HDV allows you to record an hour of high definition video with a consumer-priced handheld camcorder on standard mini-DV videocassettes. You can connect an HDV camcorder to your computer via FireWire, so you can capture and output just as you would with a DV device. HDV uses MPEG-2 compression to achieve a maximum video data rate of 25 Mbps, which is the same data rate as DV. This means you can fit the same amount of video on your scratch disks as you can when using DV. Although the HDV workflow is nearly identical to a typical DV workflow, a few additional steps are required. Avid Xpress Pro HD, Avid Film & Media Composer and Final Cut Pro allows you to capture, edit, and output HDV video in its native format.

DVCPRO HD

DVCPRO HD is a high definition addition to the DV/DVCPRO format family, making it simple to adapt your existing DV- and FireWire-based editing workflow to high definition video.

Panasonic P2

A P2 card (P2 stands for Professional Plug-in) is a compact, solid-state memory card designed for professional video use. Since they have no moving parts, P2 cards are free from many of the pitfalls associated with tape-based media, such as temperature and moisture sensitivity, tangled tape, dropouts, and tedious logging and capturing. Panasonic currently produces proprietary P2 cameras, decks, and card readers. The original P2 card had a capacity of 2 GB, or roughly 8 minutes of DV 25 footage. A fully loaded five-slot array could therefore hold 10 GB, or 40 minutes of DV 25 footage. Cards with 8 GB capacities are now available and capacities are projected to grow geometrically with each new P2 card release.

XDCAM HD

The original XDCAM format uses the Sony Professional Disc (a 120 mm disc like CD and DVD discs that can record 23.3 GB of media by using a a 405 nm blue violet laser) to record a variety of standard definition digital video formats, including: DVCAM: 25 Mbps DV (NTSC or PAL),MPEG IMX: 30, 40, or 50 Mbps MPEG-2 (I-frame only, NTSC or PAL) Note: Although the Sony Professional Disc uses a blue-violet laser, it is not compatible with Blu ray disc technology. The Sony Professional Disc supports a transfer speed of 72 Mbps, whereas a consumer Blu ray disc has a maximum rate of 36 Mbps. All video and audio content is stored on disc within MXF container files. Much like QuickTime movie files, MXF files can store video and audio data in almost any frame rate and codec, as well as metadata about the content, such as date of recording, GPS positioning data, and so on.

Apple ProRes 422

The Apple ProRes 422 codec is a high-quality 10-bit 4:2:2 video codec designed for demanding post-production workflows. Both SD and HD resolutions are supported at two quality levels—standard and high. All standard frame rates are available -23.98, 25, 29.97, and 59.94 fps. The standard-quality format is called Apple ProRes 422 and the high-quality format is called Apple ProRes 422 (HQ). The Apple ProRes 422 codec uses variable bit rate (VBR) encoding. The actual bit rate depends on the dimensions, frame rate, image complexity, and quality you are using.

Advantages of using the Apple ProRes 422 codec

• Provides superior real-time performance and lower storage costs compared to the
  Uncompressed 8-bit and 10-bit codecs.
• Can be used to capture using a third-party video interface with SDI or HD-SDI inputs.
• Can be used to transcode formats that Final Cut Pro does not support natively.
• Can be used to render long-GOP MPEG-2 formats (such as HDV and XDCAM HD) to
  avoid MPEG-2 reencoding artifacts before output.
• The 8-bit Apple ProRes 422 codec can serve as an intermediate format when working
  with film transfers or 2K digital cameras. This may replace some DVCPRO HD
  intermediate film workflows.
• The 10-bit Apple ProRes 422 codec can be used for preview screenings (avoiding
  costly film transfers) and for color grading.
• The Apple ProRes 422 (HQ) codec can be used for output to a high-end mastering
  format or even for outputting to film on lower-budget productions.

Avid DNxHD

The Avid DNxHD codec is specifically designed for nonlinear editing and multi-generation compositing, including collaborative postproduction and broadcast news environments. Avid DNxHD technology is based on the MXF standard, ensuring that media can be exchanged with any other MXF-compliant system. It offers a choice of 8- or 10-bit sampling, three user-selectable bit rates, and the ability to maintain image quality more effectively than other HD codecs.

Black-Magic Resellers in India – Updated on June 1, 2007

Genesis Forte Tech (Master Reseller)
Cottage #18
West Patel Nagar
New Delhi 110008
T: +91 11 25881929, +91 11 25881930 | F: +91 11 25885411 | info@genesisforte.com

26, Ground Floor, Shiv Chambers
Sector 11, CBD Belapur
Navi Mumbai – 400614
T: +91 22 27578833 | F: +91 22 27564193 | mumbai@genesisforte.com

Rahul Commerce

3/14 Sadhu Vaswani Road
Shop No. 1
Opposite Hotel Amir
Pune 411001
T: 98 22 023 194 | F: 612 7752 | rahulsales@vsnl.com

A-1 Anand Milan Apt
Milan Subway Road
Santacruz
Mumbai 400 054
T: 2617 1366 | F: 2617 1368 | rahulc@vsnl.com

Flat No: A301 1-8-32
Bapu Bagh Colony
P.G. Road
Secundrabad 500 003
T: 040 632 9860 | rchyderabad@vsnl.net

Vignesh Villa
25/6 Padmavathi Nagar Road
Velacheri Chennai 600 042
T: 5587 3582 | lvrajan@dnsmediasolutions.com

164 Harish Mukherjee Road
Calcutta 700 026
T: 2455 8656 | deven@rahulcommerce.com

101 Tara Apartments
132 Infantry Road
Bangalore 560 001
T: 286 8090 | F: 286 5193 | rahulbangalore@vsnl.net

RSG Infotech (P) Ltd
14/10 Basement
Near Deshbandhu College
Kalkaji New Delhi 110 019
T: 2628 6006 | F: 2623 3639 | rsg@del2.vsnl.net.in

1st Floor Maina Gul Building
Caesar Road Amboli
Andheri
(W) Mumbai 400 058
T: 2679 4243 | F: 2678 0841 | rsg@del2.vsnl.net.in

Unicorn Infosolutions
A-234/shivalik/Malviya Nagar
New Delhi – 17
T: 26688171, 9811165858 | F: 26688171

45 Kuber Complex
New Link Road
Andheri West Mumbai 53
T: 56929440/41, 56943423/9821526399 | F: 56929441

Cinthamani Computer
15/2A, Rajabadhar Street
T.Nagar, Chennai – 600017
T: 2815 3842, 2815 0169 | F: 2815 5891 | cinthamani@touchtelindia.net

HD cameras available in india for Rental and purchase.

Panasonic Varicam with HD lens adaptor for rental and purchase available from

Visual Technologies India Pvt Ltd
C.Senthil – Senior Manager-Technical
Address: 10,Warren Road, Mylapore, Chennai-600 004.
Ph:91 44 24993981/24993982    e-mail: senthil@vtipl.com
Fax: 91 44 24993980   website: www.vtipl.com