Well that would be a real shame - I dont see why the 2K limit could not be upped.

I personally see Vegas as a professional tool.
I think this is a big opportunity for Vegas - would be a shame if they didnt take it up.

Honestly, any tool can be professional. Its about the editor, not the NLE.

Red SDK is the perfect chance for Sony to get back in the good graces of indie filmers by offering something that Apple has had the chance to do but has failed miserably at.

I am assuming Vegas 9 Pro is when we will see an upped resolution and if we dont, I dont see Sony taking Red and supporting it. Now when Scarlet launches April 2009, Sony will have to support it because if the camera is delivered as its being reported with the feature set and price point (sub $3k), every prosumer who wants more resolution to work with will buy this camera, essentially hurting the bottom lines of MANY camera manufacturers.

Personally, I will have my $3k set aside for when they take preorders. Even if HDTV or SD is your intended output, imagine what having 3k resolution to work with starting out will do for quality. You will have much more room to pan and zoom without losing quality. Similar to what HDV shooters are doing now when going to SD.

I think next year is when the real video revolution begins. For less than $3K, shooters will be able to buy a cam that exceeds many features, resolutions, etc... found in any sub $10k camera. Its an easy decision.

Prospect 2K RAW has been available through Ppro / AE for nearly two years now, Adobe didn't really have to do anything as it works through the HAL. Awesome solution. Now with Prospect 4K and the release of the SDK yes, Adobe will be capable of doing what Apple didn't. Perhaps now RED will get a fair shake, I suspect at least some of the flack they've had over image quality has more to do with how people have been processing the footage. I've heard a lot of people are using just the 2K proxies, which should work in Vegas.

Bob.

RED company is more about making promises rather then fulfilling those. RED One was a huge disappointment -- with many pro DPs refusing to even consider it after doing some test with it.

I would disagree. RED has seemingly delivered on their promise of excellent quality. The problem people are having are generally with their own NLEs not supporting the format or having to go to an intermediate codec.

Do you have a link to any of these DPs?

Have you worked with Red? Do you know of "Codec Errors" and dropped frames (even if shooting with the cards)? Do you know of all the little bugs and work around people have to apply to make the thing working? Do you know how noizy the footage is even when shooting at 320 rating (which is low in the first place)? The only people who have noting but good things to say about this camera are the owners (For obvious reasons).

People (again the owners) keeps telling me that most of the bugs were worked out since the last time i worked with the camera (build 13) but still since i had such bad experience the last time i was shooting with it it will take me some time to trust Red again.

I have some experience with the Red One (Build 16) although I dont own one. The cool thing about Scarlet is by the time it ships, it will share basically the same functions as the Red One only with a lower resolution. Its definitely exciting times.

As Patryk mentioned, there are several pros that won't use the RED, because it's fraught with problems (still). Audio, codec issues, battery mount, it's a list. It was sold as an independent's dream, but as long as the independent has a competent crew and is willing to work very, very hard to get complete streams from the camera...then it's a good option. It's not a one-man-crew camera system by any stretch.
It's no wonder they're not taking pre-orders on Scarlet. They're using a "take-out" strategy, which really hurt them before, and stands to hurt them again.
RED may claim that they don't want to "make one RED cent" on their products, but the bottom line is the bottom line. Sony, JVC, Canon, Panasonic, Ikegami, Dalsa, SI have all known this since day one.
I'd love to see RED supported in Vegas, don't get me wrong. We can't use ours, not cost effectively, but if our camera was 100% and our NLE of choice had full support for that cam...that would be terrific.
Scarlet *may* be a great thing. *IF* they can deliver an on-time, 100% working camera from day one. I for one, will be pleasantly surprised if they can do that.

So many of those problems were predictable, the mechanics of how to build a functional camera have been known for decades. The latest codec issues are interesting indeed. The wavelet codecs need a lot of processing power when handling complex scenes and it kind of looks like they don't have enough of it to cope at times.


Bob.

I have a grip/electric friend who's been out on jobs with the RED one. It sounds like the big problems are boot times, noise, and frequent crashing. These are things that would drive anyone who has hired a crew, is paying wages, and has a production schedule to keep completely stark raving mad.

We had a reservation but decided to let it go in favor of an HDX900. It wasn't our first choice but it's worked out very well. Had to move to FCP to use it but I haven't been hearing much screaming from that end of the office, and that's unusual. I hear lots of grumbling from the PPro seats and can't imagine tring to work with anything 2k in PPro, at least not with Axio cards in the equation.

Scarlet may be another matter, assuming they have a chance to take their RED One problems back to the drawing board.

Rob Mack

"can't imagine tring to work with anything 2k in PPro, at least not with Axio cards in the equation"

2K RAW from our SI-2K so far works a treat in Ppro / AE.
I seriously doubt it'd work with AXIO as Prospect2K RAW uses the HAL to hook into Ppro / AE.

Bob.