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  1. #141  
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    Quote Originally Posted by Kemalettin Sert View Post
    BUILT IN ND Filters and NEW EVF pls.....
    would love to see better integration with the evf.


    the issue with the current OLED EVF’s is almost certainly happening in the camera body and possibly not the EVF’s fault.

    yes, the optics are a little below industry standards. the focus plane on the optics are slightly curved, so when the operator looks towards the edges, their eye has to adjust focus, and it causes eye fatigue a little faster than some higher quality evf’s.



    Dsmc2, DXL2, and Ranger bodies have 4 HD video outputs. For DSMC2 the Left Lcd/evf port is shared with the hdmi out. so if an hdmi device is plugged in, the left port goes blue. Same for the Eanger, except hdmi becomes “MON” and is now sdi. MON and Hdmi out looks fine. left port looks awful. makes one assume it is a firmware issue.

    Why Red cannot send a proper video signal to their self described “premium” Oled EVF. it is one of the more funny things to see coming from a supposed “cinema” brand. certainly ironic.

    Panavision has no issues apparently.

    just likely sloppy design on Red’s part, and they haven’t had to come back to it. But i can tell you, everyone not on reduser is talking about it.
    Ranger Gemini
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  2. #142  
    Senior Member Christoffer Glans's Avatar
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    Some suggestions in here just seem unnecessary for a whole new infrastructure. What can't we do with the cameras we have now? Sure we can get more resolution, less noise, larger sensors but at this point in time, when we have the 8K Monstro, who really cares? A 10K full format sensor won't really be that big of a deal.

    There's already a thread about this and I listed my picks for a next-gen camera system.

    - Accurate per frame Z depth metadata at native resolution.
    - Accurate camera tracking data for VFX (together with Z Depth you don't need greenscreens and don't need to do camera tracks in post)
    - 18 stops of actual usable DR
    - Clean of noise at ISO800 8K
    - Lighter camera body
    - Accurate tracking autofocus

    Minor things like outputs and stuff can be solved, but these things would create a proper generational jump and would revolutionize filmmaking.
    "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."
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  3. #143  
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    Quote Originally Posted by Christoffer Glans View Post
    Some suggestions in here just seem unnecessary for a whole new infrastructure. What can't we do with the cameras we have now? Sure we can get more resolution, less noise, larger sensors but at this point in time, when we have the 8K Monstro, who really cares? A 10K full format sensor won't really be that big of a deal.

    There's already a thread about this and I listed my picks for a next-gen camera system.

    - Accurate per frame Z depth metadata at native resolution.
    - Accurate camera tracking data for VFX (together with Z Depth you don't need greenscreens and don't need to do camera tracks in post)
    - 18 stops of actual usable DR
    - Clean of noise at ISO800 8K
    - Lighter camera body
    - Accurate tracking autofocus
    Well said. the camera industry is due for modern updates, and not just “film replacement box”

    Minor things like outputs and stuff can be solved, but these things would create a proper generational jump and would revolutionize filmmaking.
    i whole heartedly disagree here. output lag on digital cameras are a big issue. improving the delay to monitor/evf is crucial going forward. Also, red royally f’d up their oled evf’s, and won’t admit it or fix it, and that is a disconcerting aspect of the brand. an attitude that puts off a lot of people around the world.

    i do rarely see EVF’s on Fincher’s Red sets. My assumption, considering the timing of camera movements in their work is that fincher may avoid evf due to lag. idk, just a thought.

    However, i do agree with you, fixing the OLED evf image quality should just be an easy firmware fix.
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  4. #144  
    Senior Member Michael Lindsay's Avatar
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    others have been very articulate about changes I'd like to see but I wanted to offer our perspective.

    basically I am not sure the early day excitement can come back and I hope Red only do DSMC3 when it is really a jump forward..

    When I was a much younger man I worked in the twilight world between 'film' and 'video'.. (some of my shoots where 35mm but more where S16 but far too many where on Sony beta variant cameras or the occasional Varicam etc... ).. the Red camera project (and to a lesser extent the Si2k which I also invested in) was a fucking revalution for me/us.. No longer did I have to muck around with ridiculous spinning mirrors relay systems or an edgy low res nasty image that needed a enormous amount of energy to trick a good image out off... So even though the 1st Red one was basically a 200asa camera with limited latitude, very odd colour and a restrictive frame rate (against a Arri 435 shooting some lovely Vision2) the opportunity in image to us twilight people was very exciting... it wasn't marketing or hype it was real tools that opened up opportunities!

    then came the needed move to MX (faster iso with much better latitude)...
    then the Epic... infinitely better frame rates and amazing opportunities due to size! and stability! and compression rates improvements!
    Then Dragon... 1st really big jump re colour but GN had been improving things all along via software.... (but slight backwards step re black stability)
    Then DSMC2... Dragon done properly!!!!
    then everything else has been interesting clever steps that are often (depending on perspective) more like side steps... the only big innovations are in 2 areas! Sensitivity and Large format! and only one Red camera does it all!!! Monstro!
    If someone can't create amazing images with a dragon chip they are the issue...

    BUT also please let me say that Reds innovation with Price and Resolution is no longer interesting to me at all... and due to poor increases in CPU dev Wavelets at 8k are still a little too hard for too many people... (but the GPU stuff is working well but at 8k it is pretty demanding)

    So back to DMC3... what would make me reach for my check book!

    Big Chip (my preference would be 41mm x 24mm)... but I would take bigger even though my signatures don't cover ;-)
    Camera size option not too much bigger than a monstro
    Frame rates at S35 that clearly beat a Arri 435 ... 150fps+ if at 35mm for def and it if could go faster than 200fps for at least 5sec than would be great..
    Clearly More latitude than every previous Red.. +1.5 more than monstro..
    It can have slight less latitude in global shutter mode (but if the RS mode is fast I will never use it)
    great colour finesse...
    really stable chip with no smear!
    Options on lower compression at higher frame rates
    Behind the lens ND system that DOES NOT extend outwards further then the current OLPF (or please have a option to not have it)
    Please stick a slightly better audio connector on the camera... (5 pin Lemo?)
    I also don't think I want smaller pixels than Monster.

    If the above is not possible now please don't do it until it is possible as I will for the very 1st time pass on the move... perhaps maybe inovate in the Komodo space until we can really jump forwards again with the flagship cameras!

    Other improvements... please improve and finesse the GPU de-wavelets and maybe make redcode more efficient all around! I am really not sure I want us all to move to DCT with DSMC3..but I am happy it is a switchable camera option..
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