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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 :)

A wishlist for Epic.

I Bloom

I Bloom

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Hopefully I'm not coming in way late on this. Maybe some of these could be considered firmware ideas for Red One.

Things I'd pay good money to have on set:

1. Seperate display setups for operator, focus puller and client output:
So that if the operator decides to look at false color or RAW for example, the client still sees the look.

2. 1:1 Zoom while rolling, that can display only on the LCD and not the EVF:
Essentially part of #1. But so important, it's worth it's own number. Great if the focus puller could quietly move the sub-image around the screen during the shot.

3. Support for two LCD's rather than specific EVF and LCD ports:
It would be great then for the focus puller to have his own LCD when the operator decides to use an LCD. I'm watching every seasoned film operator I've worked with start operating off the LCD, on a lot of setups it just makes more sense.

4. Support for LDS:
I would be great if Epic could support LDS lenses. I love Cookes but I'm more likely to be shooting on Zeiss for visual effects heavy work when lense data is most important.
Best case scenario: Both LDS and /i support in one PL mount.
Also great: a seperate LDS mount option that can be swapped in.
Another option: a port on the mount that gives access to the pins to third party devices such as a conversion box or recorder.

5. Waveform and vectorscope overlays:
I would suggest that the current waveform on RedOne is simply too short to be useful, my hope is for a larger waveform that can be momentarily displayed over the whole image. A vectorscope as well would be a wonderful addition. Often the person who needs to see this the most is the gaffer, so I'd suggest a small corner overlay that can be transmitted just to the HD-SDI output. If that graph could display the clip point for both the RAW and LUT at the same time that would also be amazing.

6. High Saturation View:
If you watch a video engineer at work you will often see them momentarily oversaturate the image. This allows one to see exactly what hues are present in a given part of the image. Especially useful when green or magenta light is leaking onto skin tones from some misbehaving instrument. Red One can already do this, but it would be great as a hot key/false color mode and more extreme saturation than is available currently.

7. Most complicated:
I find it problematic that my look settings affect the false color exposure display. I'd like to simulaneously switch to RAW whenever I view false color.

I have a few other ideas...

Much respect,
IBloom
 
Good suggestions. I like 'em all. LDS has been asked for by several people here over the past year or so. I guess we can keep asking. :)

1:1 while rolling would be great. I don't know why you would not want it on the EVF. There are times I'm in intense light conditions outside where the EVF is my only viable means of monitoring.

Kinda related to #6 and maybe #7. I'd like to be able to load a couple different looks onto the camera and be able to quickly toggle them or assign them to certain buttons. As for overlays, those would be handy. I'd also like the ability to overlay an image or possibly a video clip with an alpha channel or user selectable transparency value.

I think most of these have all been suggested as potential upgrade features for the RED One. I hope some make it into EPIC, all would be great. ;)
 
Jeff,

I just want the focus puller to be able to punch in without disturbing the operator. So ideally the display could happen in both places independantly.

Ian
 
ibloom said:
I just want the focus puller to be able to punch in without disturbing the operator. So ideally the display could happen in both places independantly.
Click to expand...

Yep, as it should be. I guess I just read your original suggestion as you would not want/need it for the EVF at all. Having it independently selectable for any one output would be perfect.
 
Some of the most important/relevant features are being requested right here. Big fan of numbers 4 and 7, especially as possible firmware upgrade features for the R1.
 
Great ideas Ian !

A few to add:

8. Piezo beep when roll and cut. as cool as the Origo is, this feature should be built into the camera. Of course you can turn it off....

9. Keep TOD timecode over power cycle / battery changes. and / or GPS world clock timecode. Multicam shooting kind of sucks right now.

Matt Uhry
www.mattuhry.com
 
Hi

The 1:1 option is great at the moment... however with a 5k camera displayed on a 1k display I would find it too close for live work.. It is cool to set focus (and is brilliant for backfocus adjustments) but for 'on the move' feedback no thanks. It would be just too tight.... 2:1 would be a great option for Ian's suggestions. I personally find 1920 on playback more than enough to 'know' if its too soft..

At the moment I give the FP an asto with a 1 to 1 button. Even though it is receiving only a 720p signal it works surprisingly well... It would be improved with a live 1080p out.

All the other suggestions are great 'as is'..

thanks

Michael
 
I hope it is extremely lightweight and portable! Also, I hope it is energy efficient and subsequently does not require a fan to cool the internals.
 
I don't know about all of those display functions. Seems like they would drive the cost of the camera into the stratosphere. BUT, if there was a way to channel the data stream through a split then have an add on device that stacks on that could have independent output settings might be feasible.

You know? Be able to stack on one or two of these in series to allow the Op, the Assist, and Director or Client to all have independent settings. Being modular would allow them to be added as accessories instead of adding to the base cost of the camera or it's production.
 
weirdcrew said:
Unfortunately the LDS function is ARRI only and it's unlikely they'll let RED get that advantage.
Click to expand...

You can rent a red now at CSC. So why would arri want to give a huge advantage to other lense manufacturers. In any case. Just making the pins available on the outside of the mount could solve the issue.

IBloom
 
Just a note as far as firmware upgrades.

1 and 3 will not happen for the current R1.
 
1:1 Zoom while rolling, that can display only on the LCD and not the EVF: Essentially part of #1. But so important, it's worth it's own number. Great if the focus puller could quietly move the sub-image around the screen during the shot.
Click to expand...
I'll second this one. At least have options or scroll wheel support on the EVF to allow the focus puller to switch between zoomed framing on 1/3 frame boundary points. More specifically, divide the frame with two hoizontal lines and two vertical lines and center the focus of the zoomed area of veiw at each of the intersection points.

Panning and scanning during a take any be too much to do, but a quick bounce one of four positions to another should be manageable.

The 1:1 option is great at the moment... however with a 5k camera displayed on a 1k display I would find it too close for live work.. It is cool to set focus (and is brilliant for backfocus adjustments) but for 'on the move' feedback no thanks. It would be just too tight.... 2:1 would be a great option for Ian's suggestions. I personally find 1920 on playback more than enough to 'know' if its too soft..
Click to expand...
Michael has a great point here as well, perhaps a three position zoom is the way forward here. First position is 2:1 and the next is 5:1. I could easily live with that.

I agree with all the other posts that the LCD and EVF should get independent zoom control.

Great idea man.

Support for LDS
Click to expand...
Yes, absolutely. Obviously in metdata, red Cine and RedAlert should also support exporting this data into the dpx header. This will be a huge benefit for both the AC and the VFX company doing post work, especially if their are tracking or matchmove shots. The AC will like it because he won't have an fx coordinator leaning in over him all the time between takes.

9. Keep TOD timecode over power cycle / battery changes. and / or GPS world clock timecode. Multicam shooting kind of sucks right now.
Click to expand...

I also think Matt's suggestions are right on. This would be great when doing multi camera shoots.

Nice suggestions,

J
 
There was an earlier discussion about mounts in another thread, but I figured this post fit here a little better.

Having shot heli with Wescam and Spacecam a few times it's worth noting that in these situations (and I've heard horror stories about lenses coming off on camera cars as well with horrifying results) it would be great if one of the ears on the mount was pre-drilled for safety wire with a corresponding point on the camera body for these kinds of situations. Tape will do the trick in most situations, but with an hour of shooting on a drive you're not going to take as many opportunities to check the camera as you would chaging loads with film.

Another $0.02.

J
 
TUNGSTEN instead of DAYLIGHT SENSOR !

It would be great to have a tungsten sensitive sensor. In case of different points it would be better.... worming filters have not so much loss of light then cooling filters, outside often i have more light then inside available.... and so on....

regards

rainer
 
great list....

add lil things like powermodules for external devices (wifi ff)

and there should be a protection so a dtap cant burn the internal powerboard.
 
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