I have come to find out the suggestion to use Epic instead of Red One was based on the DIT's needs because they can't find the necessary number of Red Ones locally that support the SSD onboard drives. They do however have the ability to record the Raw data on spinning disks for the Red Ones. Basically the DIT was trying to dictate the camera choice based on his backup time. The SSD will backup faster than spinning drives, at least that's what I gather. We have told them to shoot Red One to spinning disks so I won't have an Epic battle. At least in terms of having to deal with Epic files instead of Red One. I totally agree all the cameras need to be set up by the DP to match. I'm sure that's the plan on paper and we will do everything in our power to insure that happens. We have already tested the ama link and transcode process and compared it to RedCineX. Because the plan is to offline in SD 10:1 with multigroups RedCineX isn't that appealing because it doesn't support SD resolutions. Also when I test RedCineX using the aaf approach I found I could not add a tape name to the clips in the aaf imported bin. The multigroup as opposed to regular grouping requires the clips to have tape names. I'm sure there are ways to play with ale's etc... and force a tape name in there somehow but Avid won't allow it with the aaf bin. I believe if I consolidate the clips then I can add a tape name but that's an unnecessary step given the ama link and transcode is working fine for us. Also lowering the debayer to 1/8 or 1/16th results in transcode times that are a little faster than real time which is easily doable on this project as it will be the same time it takes to capture the HDCam masters we usually shoot and we have two rooms with 5.5 so it should be twice as fast as tape capture because we only rent one HD deck to digitize.
--- In Avid-L2@yahoogroups.com, "oliverpetersvidy" <oliverpeters@...> wrote:
>
> > johnrobmoore wrote:
> > Why we are being told that the Epic Camera is the
> > only one we can use for our external drive media
> > storage needs is really something I'm checking out
>
> I am not aware of this, but I don't know everything about REDs, of course. I don't believe they have external, tethered RAW recording modules (like ARRI does), but a simple check of their web site would tell you that. They do have modules to build up the configuration of the Epic hardware, which would include onboard SDD modules.
>
> It sounds to me like your client is talking about 1080 output from the camera over SDI. If that's the case you are using a camera with a mediocre 709 feed versus just about every other HD camera on the market. That's from the point of using a good video feed as your final master image. This essentially negates all value you might have by using a RAW recording.
>
> > As far as matching I'm planning on using the
> > camera metadata for the initial online/offline
> > transcodes and tweak from there.
>
> This will only work if someone is paying attention to the camera settings at the time of production. If they take the attitude of "oh, it's raw, so we can do anything in post" and mismatch the look of the cameras, you will have ZERO chance up getting a match unless you go back into the raw image and change all the settings to something consistent.
>
> My suggestion is this. At the production, make sure ALL CAMERAS are set to the same EI/ISO, colorspace, gamma profile, color temp and tint values. Make sure all cameras are using the same filters. At this point you should have cameras that match very well. I suggest RedColor3/RedLogFilm.
>
> For post, use REDCINE-X Pro on a system with a Red Rocket card. Export all clips at 1920x1080, full-debayer, using these camera settings. Export as DNX220X or ProRes4444. This will give you a master quality image, with a flat gamma profile that's easy to grade in various extreme ways. You will never need to go back to the RED files unless you have to blow into a shot tighter. Edit and grade will go much easier.
>
> - Oliver
>
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