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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 :)

EPIC images...

Jarred,

Is that (the large yellow circle) a center weighted metering mode?

David
 
:laugh:
Jimmy Odom said:
To be HONSET I, until today, LIKE seriously TODAY, I my eyes SEE nothing but RED.

I was never a zealot, I'll be the first to state that, although I did belive in what you guys had been preaching, I was never really a FULL FLEDGE convert.

But OMG after I saw these :emote_22_yikes: , and after what you just told me :ohmy: , I AM OFFICIALLY DONE. :hurray:

I know it has taken me some time, but sometimes we have to have that AH HAH moment, beofre we both belive and even understand whats happening around us. And Jarred lemme tell you brotha, I AM ON THE TEAM, cuz today I just broke my cherry.

ALL OF MY $ is going to RED, no questions ASKED. :smash:

TAKE YOUR TIME, TAKE YOUR TIME, TAKE YOUR TIME.

This is some out of this WORLD stuff.
Click to expand...

Hey jimmy, you were 6 feet under? :laugh:
Welcome to the Redvolution!
 
Nice clean typography on the interface as well and REC light indicator has moved to the other side.

David
 
Jason Ramsey said:
CF @ 50? That's pretty cool... have you tested higher than 50 to CF yet? assuming 64GB CF?

I'm thinking 50 for 3k on Scarlet ought to be pretty robust...
Click to expand...

We did record to a 64GB RED CF card...

I probably will always shoot 5K 24fps at REDCODE 50. I'll turn up the REDCODE dial when I shoot high frame rates. But I really believe that the "I need uncompressed" guys are just collecting data. Even if you are shooting plates for VFX, I can't see more than REDCODE 100. That's just me... what do I know?

In any event, you have REDCODE 250 if you feel you need it.

Jim
 
Rick Burnett said:
More importantly, if I understand correctly, you can also select what you want to focus with the touch screen. That is going to be awesome. My Canon is easily confused as to what matters to me. :)
Click to expand...

Yeah, it's not just the pattern and even the pattern can be customized.
 
electronic focus pulls

electronic focus pulls

Jarred Land said:
your starting to get it :) Pretty cool hey?
Click to expand...

I'm curious to know how the electronics focus pulls work with Canon lenses. I believe the focus motors were designed to snap from one focus point to another in the minimum time, since that's all a DSLR needs. I had the impression they do not like to make smooth motions under electronic control- but happy to hear otherwise!
 
So REDCODE 250 is the mathematically lossless compression setting?
 
Wow, I know it probably seems like forever for you guys... but it really is amazing how much and how far you have come since we were standing in line to compare RPP's in th TENT at Reduser Party 2009 at the RIO and these things were mock-ups in a glass cage.

Serious congrats to the RED team, this is a monumental achievement and its just the beginning...
 
How does EPIC and SCARLET sync up to iPhone or iPad? Will it be with an aplication RED develops. If so will there be a charge for the Application?



Cheers
Jono
 
Jannard said:
We did record to a 64GB RED CF card...

I probably will always shoot 5K 24fps at REDCODE 50. I'll turn up the REDCODE dial when I shoot high frame rates. But I really believe that the "I need uncompressed" guys are just collecting data. Even if you are shooting plates for VFX, I can't see more than REDCODE 100. That's just me... what do I know?

In any event, you have REDCODE 250 if you feel you need it.

Jim
Click to expand...

I hear the whole... "RED is too compressed" argument floating around a lot... seems kind of irrelevant to me, the compression ratio... what is important is how robust the recorded image is... whatever it's data rate.

I think folks still underestimate the power of REDCODE and the amazing things you guys have done with compression. Seeing RED RAY @ 10megabits/second on more than one occasion is proof of that imo.

What you guys are doing with compression is one of the main things that sets the RED program apart in my opinion... high quality, robust image to commodity media... no surprises... no codec breaking apart... or, the alternative. expensive media and/or decks and huge files.
 
jbeale said:
I'm curious to know how the electronics focus pulls work with Canon lenses. I believe the focus motors were designed to snap from one focus point to another in the minimum time, since that's all a DSLR needs. I had the impression they do not like to make smooth motions under electronic control- but happy to hear otherwise!
Click to expand...

I am happy to say that the Birger mount used with Canon lenses have already proven the you wrong there jbeale!
 
Jarred Land said:
Yes it is a work in progress...
Click to expand...

Do not know if it is possible but a 50% opacity mode on any "data" would be nice as a way to zero in on the image and have the data there, but not as prominant.

Sort of like some DI programs let you custom dim the interface to focus on the images. Would be good for those longer shoot days.

One touch monochrome would be good too.

David
 
Jason Ramsey said:
I hear the whole... "RED is too compressed" argument floating around a lot... seems kind of irrelevant to me, the compression ratio... what is important is how robust the recorded image is... whatever it's data rate.

I think folks still underestimate the power of REDCODE and the amazing things you guys have done with compression. Seeing RED RAY @ 10megabits/second on more than one occasion is proof of that imo.

What you guys are doing with compression is one of the main things that sets the RED program apart in my opinion... high quality, robust image to commodity media... no surprises... no codec breaking apart... or, the alternative. expensive media and/or decks and huge files.
Click to expand...

People are too funny. I hear "RED is too compressed". Then the same people see the footage on a 4K projector and say "That is the most incredible footage I have ever seen." Like they forgot the projected footage was shot with REDCODE. Unbelievable. I'm starting to get over "people".

Jim
 
Are you guys going to be demonstrating any of the electronic focus pulls @ NAB? If so, will someone PLEASE get some footage of that! :) I use a slider (similar to this one: http://zazaslider.com/gallery.html) that I custom built. It's great for short dolly shots, but doing a rack focus WHILE sliding should be something shown at Circ de Soleil! :) I am REALLY interested in either using a couple buttons to switch back and forth, or have a second person operate on the redmote.

Further, are you supporting any user customizable focus curves between multiple points?
 
Aaaaah, next year i won't miss Vegas! The work you've done is incredible! Thanks Jim, Jarred et al. It is so clear now that Epic is the way to go we should stop talking about other cameras. It's an apples to oranges comparison, a digital cinema camera is much more then DR, and you got it right.
Stage 2 and the Red 1 upgrade is what i want. It is clear now.
Have a great wednesday, i will follow everything with a green label at hand, so try to post as much as you can! Good luck!
 
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