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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 :)

Feature request - separate monitor outputs

Dylan Macleod CSC

Dylan Macleod CSC

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I know this has been brought up in other threads, but haven't seen one dedicated to it.

Is it possible that in EPIC we could have two separate and assignable outputs.

Basically, I don't want the client and director having to watch me flipping around from false color to RAW and back again. Often I hear the shouts from a far away room saying "something is wrong with video!" and occasionally "that's cool!".

There was even a time when my AC had used the focus assist zoom in and before we knew it, the director came over and said "Why did you do that? Now the agency wants to shoot another version tighter!"

I really think one output dedicated to what the camera department needs and another for director,client,etc would be fantastic!

Thanks
 
Thirded (I think you´ll see a lot of support for this) - and whilst we´re at it, totally switchable overlays etc would be great, so we can have outputs with/without TC overlay, safety/center markers etc for camera dept and video village/client monitors etc as required...
 
Indeed! I was the AC mentioned in Dylan's post! Wasn't fun on an already long day!

I think all the agency guys think false color mode is flashbacks from their college days.

I suspect the outputs issue is related to the camera's processing power. Let's hope some of the higher-end brains let us pick and choose whatever we want.
 
Dylan Macleod said:
I know this has been brought up in other threads, but haven't seen one dedicated to it.

Is it possible that in EPIC we could have two separate and assignable outputs.

Basically, I don't want the client and director having to watch me flipping around from false color to RAW and back again. Often I hear the shouts from a far away room saying "something is wrong with video!" and occasionally "that's cool!".

There was even a time when my AC had used the focus assist zoom in and before we knew it, the director came over and said "Why did you do that? Now the agency wants to shoot another version tighter!"

I really think one output dedicated to what the camera department needs and another for director,client,etc would be fantastic!

Thanks
Click to expand...

You wish!

And how should this be made? A "client view mode" without false color and without focus assist influence. Without "any visual idea" how this could be made even better? Don't you think the producton could benefit of any idea from your clients (ever)?

But anyway, could i be made easy, why not? If not, I think it's maybe other issues of more interest in the priority line.
 
Great reel there Dylan! I like it a lot! I don't think you need the "client view mode" at all ;-).

(off topic: Are you happy with AdBeast? Thinking about it for myself.)
 
Jonas Nyström said:
You wish!

And how should this be made? A "client view mode" without false color and without focus assist influence. Without "any visual idea" how this could be made even better? Don't you think the producton could benefit of any idea from your clients (ever)?

But anyway, could i be made easy, why not? If not, I think it's maybe other issues of more interest in the priority line.
Click to expand...

It could be two physically separate outputs, or even just assigning certain information to LCD and Viewfinder outputs only (i.e. False color, etc)

Thanks Jonas. The reel has just been updated at higher quality. Adbeast have been great, however, it is my agent that deals with them, so I can't comment on that side of the process. I am quite happy with the quality though.
 
This is a great point.

I was working on a RED pilot, and quite often I saw the Video Assist feed go into False Color and other modes.

I also heard confusion coming from several departments on set. It did at times slow things down, when only the Camera operator or AC needed to see it. (Of course there are times when you would like this on the monitor outputs as well.)

An option to toggle these features for monitor out seems like the obvious answer.
 
I 9th the need. badly needed. Don't you guys just LOVE LOVE LOVE clients?

:)
 
Since there appears to be only one internal monitoring pathway in the RED ONE, I don't expect that this will ever be possible.

With the Epic, I would hope for four pathways: One for the operator [sans menus with independently assignable frame lines], one for the assistant [with menus/etc, an independent focus magnification, etc.], one for video village [with independently assignable frame lines, a different lookup table and optional look around] and one for external recording [clean, no frame lines or look-around, independently assignable LUT]. Some outputs should be single-link, some should be dual-link.
 
Great Idea!

I was thinking about this the other day.

EVF normal view, LCD full screen waveform or 1 to 1 view could come in handy as well.

I also hope we can do 1 to 1 view while recording.
 
If they do a 1:1 for the 1st that is available during recording, they should also add a joystick accessory so that the 1st can move it around the frame based on where they want the 1:1. If RED could make it as cool as I'm sure we're all imagining, it would make it a "required" accessory for any professional shoot.
 
Brook Willard said:
Since there appears to be only one internal monitoring pathway in the RED ONE, I don't expect that this will ever be possible.

With the Epic, I would hope for four pathways: One for the operator [sans menus with independently assignable frame lines], one for the assistant [with menus/etc, an independent focus magnification, etc.], one for video village [with independently assignable frame lines, a different lookup table and optional look around] and one for external recording [clean, no frame lines or look-around, independently assignable LUT]. Some outputs should be single-link, some should be dual-link.
Click to expand...

You forgot independent resolutions on each monitor pathway.

That would open up a lot of possibilities.
 
I "eleventh" the request.
And let's make the info on screen fully customizable. Just like an Arricam, or HDX-900, or any other pro camera.
Harry
 
I am hoping Brook's request finds an ear somewhere in RED!
We end up sticking a EFV for operator - an RED LCD for menus - and an additional (TV Logic) monitor for punch-in onto the RED's - bit messy - specally if you consider that there is another screen on the end of the camera nobody uses - even more messy. Focus punch in should be available while recording and not affect anybody else.

Please let this be a feature of EPIC !!!
Best
Cheers
 
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