Thread: Weapon Feature/Update Requests

Reply to Thread
Page 2 of 6 FirstFirst 123456 LastLast
Results 11 to 20 of 51
  1. #11  
    Senior Member
    Join Date
    May 2007
    Location
    nashville, tn
    Posts
    167
    HDMI should be removed from every camera. Nothing stings like getting a $2700 bill from Red to replace a fried HDMI board that should've never been there in the first place.
    Red Monstro 8k VV, Alexa Minis, Kowa ANA, Kowa Evolution ANA, Lomo Round front, Lomo Square Fronts, Canon K35, TLS Panchros, Angie Zooms, and all the support to go with.
    Reply With Quote  
     

  2. #12  
    Senior Member roryhinds's Avatar
    Join Date
    Jan 2007
    Location
    Vancouver, BC, Canada
    Posts
    2,144
    As many have said, I'll say as well... Make monitor ports reassignable so that one can use either the top pogo or operator side pogo pins simultaneously as HDMI
    Rory Hinds
    World Explorer
    Mine Films

    http://www.minefilms.com

    VANCOUVER, BC CANADA

    IATSE 669 Director of Photography / Drone Pilot /
    Writer / Director / VFX / Grading & Finishing
    Reply With Quote  
     

  3. #13  
    Senior Member Eric Haase's Avatar
    Join Date
    Mar 2009
    Location
    Los Angeles
    Posts
    1,029
    1. An easy clear way to assign looks to independent monitor paths. DO away with Video Source and Look Config menu and only have Monitor Config to assign, color, gamma and LUT individually to each monitor path.

    2. Prores records with LUT (option). Separate folder a plus.

    3. Improved wifi. After a day with fool control on iPad and iPhone it's starting to feel like the REDMOTE in terms of reliability of camera to connect and stay on network. ugh.
    Eric
    cinematographer
    www.ericjhaase.com
    Reply With Quote  
     

  4. #14  
    Senior Member Christoffer Glans's Avatar
    Join Date
    Jun 2007
    Location
    Stockholm, Sweden
    Posts
    4,219
    Quote Originally Posted by Phil Holland View Post
    Yes to option on LUTs being baked into ProRes.

    Need to know more information in regards to having ProRes in a separate folder. In some ways, this might not make sense. In other ways, yes, sure it does.
    From an editorial and DIT-perspective it makes very sense since R3Ds and Proxies should be made separate in post anyway. If a DIT or a wrangler put all R3Ds on one drive for dailies/grade/VFX etc. and all the ProRes files on another separate drive in order to give the assistant editor or editor so they can begin editing, it would make things easier if they were separate. I've tried doing the ".mov" search in finder on the cards, but that doesn't always work so I have to manually open and move the ProRes files. It also doesn't make sense if you are editing proxies and want to relink to original R3D files since having them mixed almost always confuse NLEs or other that it's actually the .mov files you want. Premiere is really bad in that regard, because it seem to do it random between original and proxy files.

    Proxies and original files should always be kept separate. However, when shooting ONLY ProRes it might make sense, but maybe that should be an option in-camera "Put ProRes in Red folder structure -> Put ProRes in separate folder". I don't think that would be very hard to achieve in a future firmware update. This is probably even more important whenever we get MXFs which absolutely need to be in the same folder in order to work fast when putting them into an Avid structure.

    The ProRes dividing itself up in smaller parts of a continuous shot is also something that needs to be looked at when it comes to MXFs, I'm not sure how that plays in Avid through the MXF folder structure.
    "Using any digital cinema camera today is like sending your 35mm rolls to a standard lab. -Using a Red is like owning a dark room."
    Red Weapon 6K #00600
    Reply With Quote  
     

  5. #15  
    Moderator Phil Holland's Avatar
    Join Date
    Apr 2007
    Location
    Los Angeles
    Posts
    11,539
    Quote Originally Posted by Christoffer Glans View Post
    From an editorial and DIT-perspective it makes very sense since R3Ds and Proxies should be made separate in post anyway. If a DIT or a wrangler put all R3Ds on one drive for dailies/grade/VFX etc. and all the ProRes files on another separate drive in order to give the assistant editor or editor so they can begin editing, it would make things easier if they were separate. I've tried doing the ".mov" search in finder on the cards, but that doesn't always work so I have to manually open and move the ProRes files. It also doesn't make sense if you are editing proxies and want to relink to original R3D files since having them mixed almost always confuse NLEs or other that it's actually the .mov files you want. Premiere is really bad in that regard, because it seem to do it random between original and proxy files.

    Proxies and original files should always be kept separate. However, when shooting ONLY ProRes it might make sense, but maybe that should be an option in-camera "Put ProRes in Red folder structure -> Put ProRes in separate folder". I don't think that would be very hard to achieve in a future firmware update. This is probably even more important whenever we get MXFs which absolutely need to be in the same folder in order to work fast when putting them into an Avid structure.

    The ProRes dividing itself up in smaller parts of a continuous shot is also something that needs to be looked at when it comes to MXFs, I'm not sure how that plays in Avid through the MXF folder structure.
    For kicks, I made a script that sniffs the ProRes files and creates a duplicate file structure and moves them into a separate MOV main folder. Didn't take me more than 30 minutes. After I get back from NAB I might wrangle these tools into something more fun.
    Phil Holland - Cinematographer - Los Angeles
    ________________________________
    phfx.com IMDB
    PHFX | tools

    2X RED Monstro 8K VV Bodies and a lot of things to use with them.

    Data Sheets and Notes:
    Red Weapon/DSMC2
    Red Dragon
    Reply With Quote  
     

  6. #16  
    Senior Member
    Join Date
    Sep 2007
    Posts
    232
    Quote Originally Posted by Phil Holland View Post
    For kicks, I made a script that sniffs the ProRes files and creates a duplicate file structure and moves them into a separate MOV main folder. Didn't take me more than 30 minutes. After I get back from NAB I might wrangle these tools into something more fun.
    While you're at it Phil, please make a tool to separate jpegs and raw camera files for still camera shooters ;-)
    Director,
    The Inclusion Center,
    Center for Rummelighed
    www.rummelighed.org
    Copenhagen, Denmark
    Reply With Quote  
     

  7. #17  
    Senior Member Tommaso Alvisi's Avatar
    Join Date
    Jan 2009
    Location
    ITALY
    Posts
    2,213
    Quote Originally Posted by soren k jensen View Post
    While you're at it Phil, please make a tool to separate jpegs and raw camera files for still camera shooters ;-)
    These are often in the same directory so a simple sort by filetype in a file manager get you there...

    This on the other hand is a totally different matter, MOVs are scattered inside a gazillion of folders...

    I really think that MOVs should be written by the camera in a separate folder and all grouped together!

    It's the best way in both cases! Not only when using ProRes as proxies, but also when shooting ProRes as masters!
    TOMMASO ALVISI | tommasoalvisi.com
    Weapon 6K Carbon Fiber #1605 aka qp
    instagram | twitter
    Reply With Quote  
     

  8. #18  
    Senior Member Milan Spasic's Avatar
    Join Date
    Jun 2009
    Location
    Los Angeles / San Diego
    Posts
    634
    Quote Originally Posted by Eric Haase View Post

    3. Improved wifi. After a day with fool control on iPad and iPhone it's starting to feel like the REDMOTE in terms of reliability of camera to connect and stay on network. ugh.
    +1

    Wonderful software, let down by camera hardware.
    milanspasic.com
    Gemini #88
    Reply With Quote  
     

  9. #19  
    Senior Member ignition's Avatar
    Join Date
    Mar 2008
    Location
    Victoria, Australia
    Posts
    226
    Quote Originally Posted by Milan Spasic View Post
    +1

    Wonderful software, let down by camera hardware.
    +1 I'm guessing most of us work in ad-hoc mode. I doubt this is something RED can improve much through software as I think the reliability issues are stemming from a WiFi antenna located inside the body which makes for a very weak signal. The WiFi capability is perfect in implementation - it's just a range issue. I don't think this is something RED needs to specifically focus on, they've opened up the capability and it works flawless within the range limitations, which I'm more than happy to accept and let them focus on other camera performance and ergonomic issues.

    I'm hoping RT Latitude gets us some more rock solid Wifi performance. Likely see a lot of other innovations in this area too.
    Cheers,

    Darren Vukasinovic | Ignition Pictures
    Melbourne, Victoria - Australia
    RED Weapon 6K CF Dragon #00702 "Ripley"
    RT Mk 3.1 Motion Wireless FF, Bolt Pro 2000 Wireless TX/RX + Bolt Sidekick, Bright Tangerine Strummer DNA MB
    Camera Equipment Hire, Crew & Production Support, Dragon Aerial Cinematography
    Reply With Quote  
     

  10. #20  
    Senior Member Eric Haase's Avatar
    Join Date
    Mar 2009
    Location
    Los Angeles
    Posts
    1,029
    Quote Originally Posted by Milan Spasic View Post
    +1

    Wonderful software, let down by camera hardware.
    Quote Originally Posted by ignition View Post
    +1 I'm guessing most of us work in ad-hoc mode. I doubt this is something RED can improve much through software as I think the reliability issues are stemming from a WiFi antenna located inside the body which makes for a very weak signal. The WiFi capability is perfect in implementation - it's just a range issue. I don't think this is something RED needs to specifically focus on, they've opened up the capability and it works flawless within the range limitations, which I'm more than happy to accept and let them focus on other camera performance and ergonomic issues.

    I'm hoping RT Latitude gets us some more rock solid Wifi performance. Likely see a lot of other innovations in this area too.
    I brought my own access point router that stays on the monitor near camera and used infrastructure mode. The app on both iOS devices has no trouble connecting and staying connected to the access point. Seems like the camera is the problem in the link here. The fool control app is well done and when it is connected, very fast and responsive. The developer is very quick to answer tech questions via email. I also tried ad hoc mode which worked on and off. Neither method was reliable. The camera, iOs device and access point were always within 5-15 feet of each other and sometimes all right next to each other. I usually keep my monitor right next to camera and the iPad stays with it.

    I don't want to have to buy an accessory to improve the functionality of what the camera has been advertised to have. This feature doesn't "just work" as we would like it to. It feels like the same disaster that the redmote was, which has a distinct reputation for being a paperweight. I am particularly disappointed because one of the main reasons I executed the upgrade was this wireless support (along with support for LUTs, of which the implementation is clunky).

    I'm going to keep trying to use it...after all my opinion is based on a few hours of testing at home and one day of on set use. Maybe I need a beefier router? I've tried different channels. Maybe I'm doing something else wrong? I don't know. I hope I can get it to work with rock solid reliability. Anything less is not acceptable on set as a professional tool.
    Eric
    cinematographer
    www.ericjhaase.com
    Reply With Quote  
     

Posting Permissions
  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts