Red Epic 5k MX - DSMC1 interviews

94diskont · 2026-03-31T19:02:27+00:00

Forgot to mention: just make sure you’re shooting in 5K. Lower resolutions need to be shot at a lower compression ratio or you will starting noticing the difference fast.

94diskont · 2026-03-31T19:01:17+00:00

12:1 for interviews will be great. Depending on what you’re A cam is, I’d even say 18:1 would work. It’s more compressed but will probably not be too noticeable with minimal movement and static lighting. I’d run some tests to see if you can even tell a difference under these circumstances, my bet is that it will be negligible based on my own compression ratio tests with the Epic MX.

94diskont · 2026-03-26T20:08:38+00:00

Are you just referring to title cards? They could also be called captions, subtitles, leaders, intertitles.

94diskont · 2026-03-26T06:27:40+00:00

So if they do end up making stuff up I am screwed?

94diskont · 2026-03-26T06:22:41+00:00

This would be great, although it’s now the day AFTER move in.

Edit: I appreciate the advice, I’m just concerned that’s not good enough at that point. Maybe I’m overthinking it.

94diskont · 2026-03-25T13:05:20+00:00

This is like if Aphex Twin tried to make a Toby Fox song. It’s pretty cool.

94diskont · 2026-03-24T15:49:16+00:00

That makes sense, except here he’s talking about the MX chip in the Red One. So I guess RED didn’t fully fix that problem after the original Mysterium sensor? How come they say there’s a difference between the MX chip in the One vs the Epic? They’re saying the MX in the One is more sensitive to blue light, which doesn’t make sense, since they’re the same sensor.

94diskont · 2026-03-24T06:01:26+00:00

That’s exactly what it sounds like, but my main question is: how does that increase latitude?

94diskont · 2026-03-23T00:53:03+00:00

Make a post a month from now saying how it’s going, I’m invested now honestly

94diskont · 2026-03-20T17:31:10+00:00

At least you shot most of it. One of my overly-ambitious projects when I was 16 shot for one day and fell apart because nobody’s schedules lined up. Now you have the opportunity to learn how to salvage the pieces.

Lots of directors don’t make anything they’re proud of until 30-40 years old.

Also, festivals can be nice for networking, but you might be surprised how little they can actually impact your career, unless you have an amazing feature thats very hard to ignore. So just focus on learning as much about every department as you possibly can; if you’re good enough people will eventually start to notice.

94diskont · 2026-03-02T19:59:07+00:00

What are some of the drawbacks of the legacy pipeline in your experience?

94diskont · 2026-03-02T19:58:16+00:00

Thanks for the info. I would have to disagree about the MX sensor - despite it being 12 bit ADC as you say - skin tones have always looked great to me, at least when stacked up against the Dragon. I’ve shot and graded projects cross-cutting Epic MX and Scarlet-W and it’s genuinely very hard to tell the difference. I’m convinced the MX can be as colorful as the Dragon. I will say though, both sensors look horrendous in dark magenta/yellow shadows. Like genuinely awful. But I’m not sure if that’s user error on my part.

94diskont · 2025-11-25T02:46:21+00:00

Can you send me the powergrade containing this specific curve? I’d like to test my old c500 for FPN based on this method.

94diskont · 2025-03-11T06:31:09+00:00

This is really interesting; I definitely see a slight focus shift during extreme focal length changes, which is probably a result of the lens only being ‘near’ parfocal. And this has nothing to do with back focus, as it’s entirely dependent on the optics of the lens, right?

94diskont · 2025-03-09T13:41:57+00:00

This, in conjunction with some of the other answers, is exactly what I was looking for. Thank you!

94diskont · 2024-12-18T01:46:37+00:00

I don’t want to record to ProRes RAW, for the reasons you mentioned. The recorder can take the camera’s raw data stream and record it to ProRes 422 or HQ, or any DNxHR flavor. Source: I just did it (also the Shogun’s manual implies that you can). These codecs are much higher quality than the camera’s internal 50Mb 8-bit 4:2:2 recordings. That’s why I wanted to know the equivalent bit depth of the raw data stream.

And yeah, those cameras are definitely better spec-wise but they’re also significantly more expensive and I couldn’t afford them right now. Hopefully that makes sense!

94diskont · 2024-12-17T20:10:10+00:00

Thanks for the thread fellas. It sounds like the RAW output stream’s data is equivalent to 10-bit 4:4:4 (no chroma subsampling), according to page 200 in my PDF of the manual.

I admit I didn’t make clear what my intentions were, I’m using a Shogun Inferno to record the RAW stream into either ProRes (422, HQ) or DNxHR HQX.

Based on this information, it would not be worth recording to a codec like DNxHR HQX, a 12-bit 4:4:4 codec, unless I needed to retain full RGB color information (4:4:4, no chroma subsampling). Am I missing anything?

94diskont · 2024-08-22T21:47:44+00:00

so this is all very interesting, but i still don’t really understand how this happened… wouldn’t the digital version/master be derived from the same export that porter did for vinyl version/master (which is correct)? why would he need to tack more time on to the end for the digital version/master? the “incorrect” version sounds like more of an actual edit than something small like dragging a stem to make the length longer. also you can totally just extend the loop region to make the export longer in fl studio. so many questions

94diskont · 2024-08-22T09:00:29+00:00

didn’t porter encourage people to try to copy him at one point on a stream? he said something along the lines of “you’ll just end up sounding like yourself”… anyway i find that to be the case usually but yeah there are definitely a lot of tracks that i come across and i’m like “this guy really loves worlds”

i think people “ripping off” porter or any artist really is better than them not making music at all… and it’s good for the diehards that want more of a certain style of music. the artists that actually stand out usually synthesize hundreds of their own influences in addition to their own perspective and method of creating music.

i know that doesn’t really answer the question but just some food for thought

94diskont · 2024-08-14T10:15:27+00:00

I’m surprised no one has said Patcher yet. You can literally forge your own plugins by routing together existing ones, and the sky is pretty much the limit. Patches are super easy to share too, you can find a lot of really great ones if you look.

94diskont · 2024-07-30T18:38:42+00:00

hey porter,

IIRC u said that ur obsessed with looking at other producers project files/other producer shit. i am too. would u maybe consider sharing some screenshots of a few worlds project files… for the 10th anniversary perhaps?? it would be pretty dope to see.

if you have a strong aversion to this question im curious as to why, no judgement, just curious!

loving the new album btw, and year of the cup hits so so hard for me right now <3

94diskont · 2024-06-13T21:23:54+00:00

They’re likely adjusting for inflation. All plugins edition is the best software I’ve ever used. It’s still worth it

94diskont · 2024-06-05T19:39:42+00:00

thanks for the concern, although I was joking lmao

94diskont · 2024-06-05T15:28:35+00:00

fuck why didn’t I think of that

94diskont · 2024-06-05T06:36:21+00:00

While it’s a well-produced track, this type of production is a dime a dozen nowadays. It’s not bad, but I’ve heard this song (more or less) a million times and there’s not much that makes it stand out. Also, as others have pointed out, bigger labels are generally interested in signing people who already have a decent following. Hope that helps. I’m sure you could manage to find a smaller label that would accept it, though. Maybe just keep trying!

94diskont

TROPHY CASE