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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 :)

Ultra High Frame Rate Brain

Mark L. Pederson said:
2K 1000fps is the slam dunk - however, 500fps is pretty damn extreme.
Click to expand...

Agree. For broadcast work I think 500fps is fine if it's 1080p or higher and we can rent for a killer day rate.

There are and always will be an ARMY of hair / soap / detergent commercials being shot at any given time.

They pay well.

Red owners need the odd well-paying soap ad from time to time.

Mark L. Pederson said:
in fact ...

how about a big ram-raid buffer - that then crunches to REDCODE in the background?
Click to expand...

That's what the Scarlet's 180fps burst mode was, wasn't it? Hope it's still there.

To do it right, you have a ram buffer where you can either hit record at the beginning OR the end of what you shot.

Bruce Allen
www.boacinema.com
 
I've been watching the new Discovery Channel HD series "Time Warp", in which the hosts use science and a Phantom to shoot lots of cool tests (bullets, fireworks, etc.) in super slo-mo to demo to the viewer what really happens in a fast-happening event. Its is fun series - technically and aesthetically.

We've traditionally used a lot of high frame rates for slo-mos in the television programs we do on sports and nature. A higher frame rate camera to dovetail with Epic would be a welcome addition for that - think of the slo-mo aesthetics of NFL Films and Planet Earth.

I also think such a camera would do well in the television commercials industry.

I've emphasized the need for good slo-mo capabilities to RED Team at several junctures in the past three years.
 
Another bell-ringer for Mark!

I would think there could be a huge market for a high-speed Brain. We could so easily add ultra high speed shots simply by connecting the HS Brain to a system we are already totally comfortable with.

The rental charge should be fairly low and no expert tech would be required.

It just keeps getting better and better!

Good shooting and best regards,

Leo
 
Steve Gibby said:
We've traditionally used a lot of high frame rates for slo-mos in the television programs we do on sports and nature. A higher frame rate camera to dovetail with Epic would be a welcome addition for that - think NFL Films aesthetics.

I also think such a camera would do well in the television commercials industry.
Click to expand...

What the heck, Gibby? We're not supposed to be agreeing with each other publicly ;) BTW your backpack recommendation saved our ass in Japan.

I agree with Jeff too - a 3K 1000fps option would be awesome for features, vfx, etc.

It would also mean the next RED reel would be packed with gob-smacking slow-mo "hero shots" from big features with $100,000 worth of VFX added to the shot to sweeten it up. Might help you sell an extra camera or two.

But I think the greatest market right now is all of that broadcast stuff. Which doesn't need to be at quite as high a quality (witness my sneaking in HV20 footage all the time ;).

EDIT: Oh, and latitude is very important. Because:
a) it's more unpredictable than normal shooting and too fast for humans to rack iris
and
b) often you're making a mess. And sometimes your're breaking things. So it sucks doing things over. And sometimes you're filming wildlife. Which is impossible to predict or repeat ("oh damn that critter ran into a frikkin' shade patch instead of the sunlight").

Maybe Monstro with it's high DR would be a good fit? Probably Mysterium X is too far down the line too?

Bruce Allen
www.boacinema.com
 
Big T said:
Mr RED J annard...
You build a S35 BRAIN that can do 4k 200fps, 3k 500fps, 2k1000fps or close to these numbers for about 45k, I'll promise you I'll buy 3 off you the day you announce it.

Love ya work man
Click to expand...

i second that......but i dont want a pony...hehe
 
Bruce Allen said:
What the heck, Gibby? We're not supposed to be agreeing with each other publicly ;) BTW your backpack recommendation saved our ass in Japan.

I agree with Jeff too - a 3K 1000fps option would be awesome for features, vfx, etc.

It would also mean the next RED reel would be packed with gob-smacking slow-mo "hero shots" from big features with $100,000 worth of VFX added to the shot to sweeten it up. Might help you sell an extra camera or two.

But I think the greatest market right now is all of that broadcast stuff. Which doesn't need to be at quite as high a quality (witness my sneaking in HV20 footage all the time ;).

Bruce Allen
www.boacinema.com
Click to expand...

LOL - yeah, what are we doing? We may not always agree, but we definitely have some common ground here :w00t:

Glad the backpacks worked out for you...they're an inexpensive fix to a common problem.

Yes, even an HV20 in pro hands can be a potent paint brush.

I agree that broadcast, VFX, and commercials would be sweet zones for a high FPS Epic.

Peace...
 
Well,

Instead of a brain, could it be possible to build a RAM buffer module that connects to any brain, giving it a major framerate increase.

Maybe you need another sensor entirely... but if not a RAM module would be my vote.

IBloom
 
ibloom said:
Well,

Instead of a brain, could it be possible to build a RAM buffer module that connects to any brain, giving it a major framerate increase.

Maybe you need another sensor entirely... but if not a RAM module would be my vote.

IBloom
Click to expand...

It's a number of things that would need to be increased 5x (sensor, bandwidth, processing, etc).
 
This thread proves why Red is amazing. Someone posts a new idea and we have not only the head honcho himself actually listening and most likely actually thinking of a way to make this happen. This also shows how strong the new modular system is. Right now with my experience so many people have the camera body (R1) and try to rent lenses/aks. This seems to have disrupted many rental houses. I personally have run into some places that dont want to rent aks without renting a body with fear that someone may rent a body and they will be short the aks they need. In my case I plan on the 2/3 Scarlet and and all the aks i can afford and ill rent an Epic or better brain necessary for paid gigs and sure hope there will be an HS Brain for rent in the future.
 
I've always wanted a high speed brain !
Seriously good idea, 3K at 500fps.

Beautiful music video Bruce, loved it.
Aloha
-A
 
I posted from way before RED ONE about the:
imager direct to ram buffer - and then a slow push to storage through processing.
But I don't know if that works.

It would mean you have to wait for it to process slower then real time. But I could live with that.
 
Deanan said:
It's a number of things that would need to be increased 5x (sensor, bandwidth, processing, etc).
Click to expand...

The cool part is that the camera is not built yet, so you have the power to make an design that is flexible enough to handle every (almost) request :)

If the camera and the other modules all share some sort of common transport bus, and each module take/send the data they need, you got a mini-network going in the cam, and also the potential to make new module that can do anything possible. Who knows, if you make the data-bus- an open/licensed protocol, other companies can make modules for it too. Or RED can sell empty programmable/flash-able FPGA units to be programmed to do anything.

Just look at common existing data bus network that exist today. 10Gb ethernet, Infiniband, pcie, pcix... :)

To make a 8, 16, or 32 GB RAM buffer for highspeed filming would be a straight forward process. Just read the data feed from the brain, REDCODE encodes or not, and then send it to the drive or to an REDCODE engine before that.

..got that warm feeling that I'm pissing in some ones pool again..
I apologize :)

Cheers
 
Dear Jim...

This is a subject that is near and dear to my heart. I owe part of my career to the Photo-Sonics company for making their various cameras...I have shot tons and tons of slo-mo over the years, starting (a long time ago) with shooting skiing for Warren Miller and others.

Here is a spot that I still have on my reel even though it is getting kinda old, "How Does it Feel to Fly" www.velocity.tv/howdoesitfeeltofly600x400.htm. The side shot of the diver, overhead (sun) shot and water entry shot were at 400 fps. (It was the opening for the Olympic High Diving competition on NBC). This spot still gets the most compliments of anything on my reel.

I believe I am fairly well qualified to speak about slo-mo frame rates.

I feel that 98% of our (ok- my) slo-mo needs would be satisfied by a camera that could do 3k at up to 400-500 fps (Think Actionmaster 500). I rarely have used cameras that shoot frame rates higher than that. When I need something above 500 fps, I usually need to go way above it to several thousand fps (the bullet going thru the 100 meter dash tape at the end of the "Fastest Man on Earth" spot on my reel (above link-click on "back to Our Work") was shot at 10,000 fps).

So, this is my thinking...the 200 fps (at 2K) EPIC spec is really great, and we all thank you for that. But to make a real visual difference beyond that frame rate, I feel we need to get to 400-500 fps, and then it jumps to 1000 or above.

So...if you could make a Slo-Mo EPIC brain that would shoot 400 fps at 3k (as a minimum…anything over that would be terrific), I can sell my closet full of Photo-Sonic gear...(6-1VN's, two Actionmaster 500's, two 4ML's...anyone want to buy any?), and buy some more of your stuff.

...after you sell your Photo-Sonics of course.

Thanks for listening.

Larry Gebhardt
 
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