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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 :)

Released: Beta Firmware - Build 15

4K REDCODE 36 to CF

4K REDCODE 36 to CF

This new build is not letting me shoot 23.98 fps 4K 2:1 RC36 to CF card. I'm getting "Media too slow" when I try to record. I was able to record this no problem in build 14.
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Confirmed. This is a bug. (Hence why this is beta s/w) :matrix:

p.s. I have personally verified that an ex-Soderburg CF card works just fine on Build 15 - with the exception of the above stated bug.
 
I gather a lot of people are shooting RC36 now. It stands to reason that this should look better, but can anyone give an impression of just how much better that is? Have people done careful comparisons between the original redcode and RC36 images?
 
Stuart English said:
Confirmed. This is a bug. (Hence why this is beta s/w) :matrix:

p.s. I have personally verified that an ex-Soderburg CF card works just fine on Build 15 - with the exception of the above stated bug.
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Is their intent to release an immediate fix when this is worked out, or are we waiting on build 16 beta before a resolution?
 
MrDorf said:
Is their intent to release an immediate fix when this is worked out, or are we waiting on build 16 beta before a resolution?
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We intend to fix this as quickly as we can... not wait for Build 16.

Jim
 
Shawn Nelson said:
-Edge code focus: awesome! But...very hard to see, can we get the thickness of the red parts up a bit? Like, double their current width?
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OK - I just checked this out by holding a Nikon over the PL Mount on my camera... Turns out if you focus at about 20-30 feet you can see stuff about 1 foot away from the camera clearly. (how totally pathetic is it for me to be doing this?)

First - THANK YOU!!! The focus assist appears to work as I have been hoping for. I'd agree with Shawn. The red lines could be amplified.. either a more saturated red or thicker. It would be coolest if users could set 3 things...

1) Color (R,G,B)
2) Intensity (thickness, brightness?)
3) Sensitivity (like - how close to in focus qualifies as showing up in RED)

Regardless - Thanks - this looks very promising.

hmm... maybe I can gaff tape a lens on and shoot salt bouncing at 120FPS...
 
Jay A. Kelley said:
Oh god.. please.. I know I sound stupid but WHERE is the new focus assist really!!?

i go to color, then select it, then what?!
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Then rotate your knob - it's edge highlight next to false color. Now it is pretty subtle in this incarnation so it could be easy to miss... but it's there and it's cool. I do think the "volume" of the outlining need to be cranked up.
 
Emmanuel Cambier said:
:nerd: How well does this new focus assit work?
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Looks like it'll be great when it becomes easier to see... they are definitely on the right track. My experience so far has been if it looks in focus on the LCD screen (despite that it's low rez) then it is in focus. But that's preliminary. I need to test many more focal lengths and situations. But overall - I think it's fair to say you can focus this camera one way or another and tools like this one are going to make it much easier.
 
Stuart English said:
If you use the COLOR parameter in the VIEWFINDER menu it does not find its way into the metadata. If you set SATURATION = 0 in the VIDEO menu it does find its way into metadata, but even then it is just metadata and can be ignored / updated with a mouse click in the post apps.

The above I know to be true for RED ALERT, I'll double check for REDCINE ... logically it must behave the same though.
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I tried again while trying to pay attention. I shot something in color, stop, turn off the "Color" in the viewfinder so I can see the Red on B/W focus assist and shoot some more. Pull up clips in Red Cine and Red Alert: First clip Color Second clip B/W.

Can anyone else reproduce this? To me it works different than Stuart describes.

By the way, like many other Red users around the world, I jumped up and down at 120fps like an idiot in front of my own camera--thanks for that!
 
Stuart English said:
You can record at any combination of resolution and quality setting now, provided that you do not change the Project Frame Rate (Varispeed and Ramp and Timelapse are O.K - I'm talking about the Project Frame Rate) as that is the fundamental timebase of the project itself and affects timecode. If you do change that, the camera will still report "media is incompatible"
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This is great news. Now I can shoot primarily in 4K on my drive, and switch to 2K on the same drive for the slow motion shots. I'm surprised more people aren't excited about this.
 
The Red Edge focus (or whatever we're actually calling it) does seem to work quite well, but it seems to suffer from a problem that's always been present with this focus assist. You get higher peaks on brighter areas, regardless of focus. So, I focussed on a nearby rock (in the shade), with the bright background foliage out of focus, but the focus assist showed red edges all over the blurry foliage and none on the rock. If you're always shooting a subject that's brighter than the background, it's fantastic.
 
Another spelling catch, this time in System - Sound - 48V Mic, all the Channel names are Chanel.

And a suggestion along the lines of increasing the obviousness of the focus colour assist - how about making it scintillate kind of like the zebras? Movement always attracts the eye.

HTH

Paul
 
Oh and one more request :)

All outputs hot ROCKS!!!! BUT.... please, PLEASE make at least one of the HD-SDIs (or both) output clean signal like you have when playback is enabled (WITHOUT needing the EVF attached).

Right now ALL of our clients want clean 720p feed from at least one of the ports and we're having to meet them half way with the playback system.

All that said, I'm NOT going back to Build 13 or 14. This one is the best by far and gives us 90% of what our clients need (plus lots of envious looks when we get 120fps going)....

Cheers Red Team!

Paul
 
Stuart English said:
The .RDM folder allows all the clips recorded on the digital magazine to be located in one folder, which is intended to make transfer or archive of all the clips on a magazine easier - just drop and drop that folder onto your backup media.
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So does this mean that we don't need to be storing the .log and magazine.profiles then?
In previous builds we would create a "Roll_01" directory and dump the entire card, logs, profiles and clips into it, creating a structure of something like this to get to footage:

Project_name>Roll_01>A001_C001_080314.RDC>A001_C001_080314_001.R3D

If we still need to be keeping logs and profiles (which I have to imagine is a good thing), then our directory structure now has a (seemingly unnecessary) extra step:

Project_name>Roll_01>A001_080314.RDM>A001_C001_080314.RDC>A001_C001_080314_001.R3D

So...the bottom line question is do we still need to keep .profiles and .logs? If yes, can we please have them moved off the root of the CF card/Drive and into the .RDM directory, allowing us to actually grab everything in one go as what it seems was intended with this change?
 
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