Welcome to our community

Be a part of something great, join today!

Log in
  • 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 :)

Why is the REC button on the Right side of the EPIC?

Status
Not open for further replies.
"...a left side record button is true for most cine cameras, but on full-sized professional EFP cameras the record button is on the front..."

You also have assignable buttons on the left side which one of them is ALWAYS Record. The potential problem with putting the RedMote in that spot will become apparent when we go hand held. It'll stick out too far because of the mounting bracket or if you velcro it it will want to be knocked off by the operator's face/nose.

If Red can build the camera with all the modules with a standard HH bracket, FF, MB, S4 or UP or even a Super Speed with the RedMote located in this position SHOWING us that that location is a workable solution then we'll all be satisfied. But until I see that configuration with my own eyes, I'm not going to believe that that is a solution.

Again, I don't need billions+ unworkable ways of building the camera that don't make sense, or whatever the last config count was. I only need 5... Studio, Hand Held, Steadicam, Crane, super stripped down for small spaces.

And saying "you can do it however you want" doesn't work for me. Because what I want to do is impossible because of the operators face is in the way. Show us this is possible!

Please! prove me wrong, I don't want to right if that means I can't have things as basic as proper Record button placement.

I know Panavision designed several cameras with only one REC switch in the back.... 30 years ago, when they were 30years less experienced. But they learned! Let's LEARN from THEIR mistakes, there's no reason to repeat them.

It's the 21st century folks... "Those who do not learn from history are doomed to repeat it" Edmund Burke. You guys just got a history lesson, so let's try doing things a better way than our predecessors, please!!!
 
Blaire Johnson said:
It's the 21st century folks... "Those who do not learn from history are doomed to repeat it" Edmund Burke. You guys just got a history lesson, so let's try doing things a better way than our predecessors, please!!!
Click to expand...

Rule #1 of the art of persuasion (or getting what you want): Try not to be a douchebag.

Why are all your posts combatitive and negative? You're not helping the rest of us get what we want. Quite the opposite.
 
You haven't figured out what the last method is... and now I'm not sayin'. :-)

Jim
 
Kyle Presley said:
Gunner?
Click to expand...

Close...

My guess would be there is a record button on the top of the grip on the other side of the Gunner. The grip I'm talking about is the one that sticks out in the Epic/Gunner render at a 45 degree angle on the far side of the Gunner. I'm guessing that is an adjustable servozoom grip, the top of which has an interface with the gears of the lens ring - adjustable down a rail so you can attach it to either the zoom gear or focus gear. On the top of that grip/servozoom is a record button ergonomically placed for right thumb operation.

Maybe this is wishful thinking...but its a good idea nevertheless
 
Mark Pugh said:
But I'd bet the farm that MOST SHOTS taken on Epics won't be in Portrait mode, or with the camera held out in front of the body like a DSLR, or even on the shoulder. They'll be taken on a head, in what you call "cine" style.
Click to expand...

I see this differently Mark. IMO there will be huge numbers of cross-style shooters maximizing the modularity and broad utility of Epic and Scarlet. The biggest challenge for most Epic and Scarlet adopters will be for themselves to have broad enough skill sets (and attitudes) to match the capabilities of the cameras. I not only see multi-skilled people converging, but those same people also simultaneously diversifying in the styles, setups, genres, and industries they work in. Yes, there will be a core of diehard cine workers who will resist the urge to diversify - but they will ultimately be in the small minority.

Both hybrid 35mm stills and EFP shooting with RED One have been widespread. But Epic and Scarlet will be much more hybrid-friendly and EFP-friendly than RED One. Then you add in the stills capability of these new DSMC cameras, and IMO someone who strictly shoots cine style with these cameras is not only missing the point of their modularity - but is also missing out on the broad revenue they can be used to generate.

Beyond their hand held and shoulder held shooting, stills shooters, EFP shooters, and hybrid 35mm still lens shooters will all shoot on tripods with Epic too. Tripod heads aren't unique to the cine industry...:)

This discussion seems to be somewhat moot though - it looks like Jim has one more undisclosed record button trick up his sleeve, and by the sounds of his post, it appears it may be something that will please the cine setup crowd.
 
Jannard said:
I love that the biggest complaint about our new program is that the button isn't in the right place (even though it can be)...

Jim
Click to expand...

That means you guys are doing something right! ;)
Cheers,
Harry
 
Mark Pugh said:
Can someone please describe or illustrate where exactly, and how?
Any chance of a render?
Thanks.

MP
Click to expand...

I can give you some ideas:

1) put some velcro on the back of the redmote, some velcro on the side cf module(or if you're not using the side cf module then to the side of the brain) and stick it to the side - won't extend out more than the thickness of the redmote and everything is right in front of you, on the LEFT side of the camera.

2) http://red.cachefly.net/A/Monster.jpg <-- replace the small touchscreen with the redmote(since it has a tripod hole on the underside it should be dead-easy)

3) since you seem to be obsessed with the studio and cine style, then you'll have rails under the lens all the time anyway, so why not take a magic arm and put the redmote on a magic arm(again utilizing the tripod threaded hole or whatever), on whichever side of the camera(set up either for you or the AC). Freely movable around with just the twist of a knob.

4) wait and see what kind of mounting/handle/rod options RED will release, I'm guessing there will be a motherload of options right there

5) use duct tape instead of velcro(for ghetto fabulous RED shooting)

6) put the redmote in your pocket and stand to the left of the camera(duh)

7) don't buy a redmote and shoot the brain upside down :willy_nilly: (cheap option)

8) get a camera crew assistant to tape the redmote to the back of his head and have him stand facing away from you in your reach all the time. That way you can even blame him if something is wrong.

the options are limitless. If I had the $$$ I'd most probably use option number 3 and stick the redmote on a magic arm, giving the interface of the camera in front of me at all times right next to or under or above the viewfinder / lcd.


EDIT: I completely forgot: TOUCHSCREEEEN. Im guessing at least 90% of Epic/scarlet shooters are going to use the new touchscreens. And unless you're putting the touchscreen on the right of the camera you're going to have all controls right there ANYWAY.

imagination, use it.
 
Juhan Malmstein said:
6) put the redmote in your pocket and stand to the left of the camera(duh)

7) don't buy a redmote and shoot the brain upside down :willy_nilly: (cheap option)

8) get a camera crew assistant to tape the redmote to the back of his head and have him stand facing away from you in your reach all the time. That way you can even blame him if something is wrong.

the options are limitless.
Click to expand...

Priceless. Thank you for a good laugh, Juhan. :beer:
 
Film school in Eastern Europe is pretty much like a crash course in being a regular MacGyver. Especially when you have wonderful coursemates who face you with problems like: "I need a cable-camera setup over this 200 foot field and I only have max 100$ to spend on it". And when you do it, everybody is like: "I thought this would never work, but it did, so can you now set it up so that it runs through a window, so it could start from inside the room and then follow the actor outside the window when he's climbed out and running in that direction?".
 
More ideas:
*The new Bomb EVF could have a pressure switch that you push with your head towards the eyepiece to start stop the camera.

or

Be aware that you have 5 different options to make the camera go! :)
6 including the Origo if it works on this new cameras....

Actually, does anyone know if the Origo would work on the EPIC?
 
Status
Not open for further replies.
Back
Top