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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Red One connector "what is what"

No film school for me.
I took a SOA steadicam workshop in '99, but thats about it :-)
 
Aux Power Out

Aux Power Out

Yes they are LEMO, 0B shell size, 4 pin. Two pins for unregulated battery loop through power, one each for GPI and GPO - which are input trigger and output tally lines respectively. Can't say if they are the same as used on Steadcam, i just don't know. Sounds like a good research project.
 
If it's tied down can you tell the pin-out of the Power out and audio monitor out?
 
I looked for the answer for this and sorry if I missed it but,

Just wondering how most of these plugs will be covered when not in use, they seem like they would get mucked up quickly in a PJ crossing the line type of shoot. Little rubber caps? Thanks for the diagram by the way Anders!

Cheers
 
not many film cameras have little rubber caps and they use multi pin Fischers and Lemos. If you're in a situation where you're worried about that sort of dirt getting in there, then often the entire camera would be covered up.
 
wireless video

wireless video

we would like to know which cable/connection we will have to use to hook up our wireless video transmitter to the camera in order to have an image for the director on his combo?
many thx, regards
oliver
 
Hi leswiss

The camera only outputs different HD signals so you will have to have a HD transmitter and a HD video village or a HD to SD converter in the mix.
 
Sound

Sound

I couldn't see any dials for adjusting the sound level or headphone level. I know you're making a revolutionary camera here :biggrin: but can anyone tell us what the plan is for the sound please? What are the preamps like? Do you have good limiters? Will we be able to dematrix MS stereo? Will sound info be available in the viewfinder/lcd? Will the camera op be able to monitor and adjust the levels on the fly?

Will RED stand to attention and dance a jig when it hears the National Anthem?

Questions questions...
 
Our first 'Red' production, planned for September 2007 will now be shot on another system, though we were not surprised to learn of the engineering delay.

What we now need are a full set of specs as a technical 'white paper' to match the upcoming delivery schedule making clear what will be enabled when.

We also need to know exactly which configurations of camera and accessories will be practical for each level of enablement.

Forums are fine for speculation, but there are so many threads here, I think the information needs consolidating by effective technical documentation from RED.
 
A real picture?

A real picture?

As the first delivery date is coming very soon, I think it would be really cool to
see a photo of this "dumb" side of the Red One. There has been quite a few
pictures of the "smart" side of the camera so far, but never any of the dumb
side ones, yet.

I for one would really love to see what it looks like at this moment. Anything,
Jarred? :sorcerer:

Also, I'm one of the people who have concerns about those open connections.
If the connections were blocked by circular metal (or something light weight)
panels that open up, just like the automatic glass doors, how cool would that
be? When those panels are closed, the camera appears to have no connections,
then.

I'm not a big fan of those rubber ones. It's time for a change. I think they are
doing something new. Another surprise, maybe.. :matrix:
 
I hope they will replace the HDMI connector with something more field capable. On my beamer (which is mounted to the ceiling) the HDMI plug unplugs itself from time to time. I expect this to happen at least twenty times every day on an ordinary shoot.
I've had this problem with the component cable on the HVX-200 and that plug even had a clamp!
So please RED replace that plug with a Lemo or Fisher. Even if we have to buy or make an expensive adapter cable it will be well worth it.

Simon
 
Non Industry standard connectors - seriously

Non Industry standard connectors - seriously

Hi, first of all I ordered a camera, the images look great. However I have real problem with the type and location of the connectors on this camera.

First - every camera that had a cable plugged into it since the IIC, has had them running for and aft, not at 90 degrees to the camera body. This is just going to stick out, get caught on things, and basicaly get sheared off. Picture your self hand held, walking backwards, leading an actor thru a crowded bar, it's dark, strobe lights, concrete support collums, bump - shit. Ok, now I need a new connector block for my camera cause I just sheared off all my bnc and xlrs.

Second - In what way can using Mini BNCs (or whatever they are called) be a good thing? I have seen them, they are tiny and fragile. Again they stick out the side of the camera, you can't get them anywhere. Regular BNCs can be had at electronics shops, boat stores, CB shops - virtually anywhere in the country/world. They don't plug into anything (monitors, aja down converters (the ones we use on cameras, not Computers)). Is the Video assist guy supposed to go buy 2000 feet of new cable? What happens when the dolly grip booms up and doesn't notice the cable to video village is caught on the seat? Rip - shit. Ok, go send a pa to find some of these weird ass connectors - on a sunday, in the middle of no where.

Third - are those really mini XLRs for audio? Really? On purpose? Thats a bad idea on so many different levels.....I'll let the sound guys bitch about that.

Lastly - The power cable. OK, I'll give you the 4 pin lemo, Arri has a 2 pin fisher, even Panavision has different cables for different cameras. But you have to make a 4 pin xlr to red lemo cable. I mean come on, there are tens of thousands of 4 pin xlr power sources out there. The red draws around 8 amps with a drive and a viewfinder right? Add a remote follow focus, an Aja downconverter, a modulus video transmitter, a transvideo on board for the ac, a cine tape for the ac, and hell a lens light too, and no on-board lithium ion battery in the world will stand up to that amp load for more than 15 mins. You need alternative power options.

I would love to hear from the Red staff on this. I think these are going to be real issues, particularly when you start talking about rental houses. People destroy rental gear. I know there are a bunch of castings already made, etc., etc., but look at all the work Clairmont did on the F-900 to make it field user friendly. I would hate for Red users to have to do some thing similar.

How about a single 5 pin real xlr for sound like on the SDX-900? One connectr on the camera, and a break out cable for the sound mixer.

You've got all the bolt-on-modular thing going, why not have a single 11pin fisher (90degrees of course) go to a BNC break out box that you could mount where ever you want?

So congrats to team Red, not trying to bust your balls, everything else just seems very slick and these issues seem over looked.

Cant wait to get my camera,

Nick Gardner
 
half of you want standard connectors. simon doesnt want standard connectors. maybe everything should just be wireless :)
 
Hi Nick

No fear some companies are working on building a break-out box that will mount to the side of the camera to fix these mistakes.
 
I have to say that having valid, genuine concerns, responded to by the Red team with a joke, is not confidence building. I have been operating cameras for more than 17 years. All types, in all conditions around the world. I know what I'm talking about.

If there is some reason for the goofy connector layout, lets hear it. I am sure some one thought it was a good idea for some reason.

No one has addressed the power issues, or posted any specs on Reds batteries. I have yet to see anyone do a real world test all loaded up for hand held on a TV series or a feature film. What are the amp limits on the two unregulated power outs?

Just looking for an intelligent discussion on this topic. What is Reds vision of how this camera gets used on set, what were some of the big productions solutions to these problems?

Thanks,

Nick Gardner
 
Connectors

Connectors

arrinick said:
every camera that had a cable plugged into it since the IIC, has had them running for and aft, not at 90 degrees to the camera body. This is just going to stick out, get caught on things, and basicaly get sheared off

In what way can using Mini BNCs be a good thing?

Are those really mini XLRs for audio? Really? On purpose? Thats a bad idea on so many different levels.....I'll let the sound guys bitch about that.

You have to make a 4 pin xlr to red lemo cable. I mean come on, there are tens of thousands of 4 pin xlr power sources out there.

The red draws around 8 amps with a drive and a viewfinder right? Add a remote follow focus, an Aja downconverter, a modulus video transmitter, a transvideo on board for the ac, a cine tape for the ac, and hell a lens light too, and no on-board lithium ion battery in the world will stand up to that amp load for more than 15 mins. You need alternative power options.
Click to expand...


A few quick answers

The EVF, LCD and Aux/Lens cables all have right angle connectors so they don't stick out. Ditto with the DIN video to BNC adaptor cable.

DIN v's BNC - they save space, also easier to connect in cold weather too.

Mini-XLR save space. Other than being different, why are they seen to be such a problem?

Most 4 pin XLR power sources do NOT have enough current to drive a RED.

The D-Tap on the V plate gives extra power source options in addition to the camera power outputs.

Yes if you load the ceram up with all of that, eventually you will need to add an auxiliary power sources.
 
Hi Stuart,

Thanks for the reply. OK, right angle connectors not so bad, I can live with that.

OK, you guys decided to use DINs, they are small. I think the cold thing is reaching... :)

Mini XLRs are just dinky, the cables into them are small, and get moved around a bunch, the cables break- there is a reason everyone uses normal XLRs, from radio to stage, to film - they are durable. I am not a sound guy so I leave it to them.

I have to disagree with you on the 4 pin power source thing. So a 14v ni-cad belt battery can't handle 10 amps or so? Nicad block batteries? 12volt gell cells that will start a car?

Loading a camera up with "all that" is whats on the camera 80% of the time I shoot. Thats whats on a camera on any movie or tv show with a real budget.

So, thanks for the info, you guys seem to know what you're doing, so maybe you thought this thru :) I probably overreacted to change, after every AC, and DIT I know went ,"why the hell would they do that?".

Looking forward to seeing more great footage,

Nick
 
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