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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 :)

In development...

Hey Jim,

I think that's the first time you've mentioned about the Red One being able to upgrade to Monstro (for a charge) - what will be the benefits for the Red One as opposed to Epic, will it be able to do higher frame rates on the Red One than the Mysterium or Mysterium X can, higher dynamic range, less compression etc?
 
David

Upgrade to Epic you know it will be the right thing to do...

Everything I've read and heard points to:

build quality improvements making the camera a facility class tool

Bandwidth improvements for both better pictures and higher frame rates

Massive ergonomic improvements with weight savings

Any two of these would make the upgrade a (as our American friends say) no-brainer.

regards

Michael
 
"Nice" would be an understatement...


Jannard said:
The only heartburn we get is from posts like yours.

Jim
Click to expand...

If your heartburn comes only from posts like Bruce's you're doing pretty fine, IMO :sarcasm:
 
Bruce Allen said:
...

On the RAW thing... I bear no ill will and am probably misinformed. I did look things up and what I found coincided roughly with my foggy memory of public announcements:
- Silicon Imaging announced April 17, 2006 that they were "using Cineform RAW".
- In an interview with Ted on April 14, 2006
http://www.hdforindies.com/2006/04/hd4nds-exclusive-ted-schilowitz-now
...he said that "codec development is coming on strong - we won't have specifics because we don't want to commit to what is still in development"

I have no idea of the internal workings of your company or who did RAW first. Just trying to point out that REDCODE-ness isn't the #1 thing that sells RED, it's all the other awesome things that do that job.

I'm sure all your future competitors will do compressed RAW too. Wavelet image compression is a textbook computer science subject. I read "Wavelets for computer graphics" in 3rd year. Doing it to a sequence of RAW data frames isn't that revolutionary.

So I wouldn't bank on that as a major competitive advantage unless you guys had tighter, better software support and workflow than the other guys.

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

Hi Bruce,

I beg to differ. Red Raw is for me what brings it all together. Without Red Raw, what would you record to ? What would you edit on ?

Imagine the Red One without Red Raw. You would need high bandwidth, ie. expensive and cumbersome RAIDs to record. Then you would need even more expensive and cumbersome hardware and software to play back that data.

For me, Red Raw is Red's masterpiece, of course without the Mysterium, the body, the accessories, etc. and the price point, it wouldn't be much, so it's a whole of course.

As to Raw compression being revolutionary, well maybe others had thought about it, maybe even others had done it, I don't know. But Red are the first to offer a camera and workflow using it, and that I can afford, and that is revolutionary from my point of view, and particularly for my business practice. It has allowed me to step up from HDV and DVCproHD and enter a whole new world, and a beautiful place it is !

Cheers Red Team,
Damien
 
Just spotted this mention of Monstro on Engadget.com:

http://www.engadget.com/2008/08/30/reds-next-move-monstro-dslrs/

Interestingly it mentions that Mysterium X will a 25 Megapixel sensor :blink:!!! Not sure where they got this from - the megapixel count of the Mysterium X hasn't been revealed yet, has it? Or am I missing something???
 
Jim,

Well said...
Many of us do realize the innovative ground breaking technology you have brought together to offer a truly revolutionary product line.

At the same time you have built a loyal following that is unparalleled in the camera industry.

Keep those posts coming!

Cheers
Dave
 
all nice, but why?

My RED is already giving me images better than I can ever get to air.
By the time the stations MPEG it, compress it, etc etc then broadcast it.. Our images just end up looking like compressed crap.
It's so disappointing that the only people who see the best of our images is the people in the post houses finishing them.
RED is so good already that it's like shooting mice with an elephant gun. Total over kill for what we do and need.

So when I see a EPIC coming soon I question why, Why do we need something that we have to down size 4 times for cine out, 16x for SD tv out....

Yet in the same breath i'll take 4 please. Where do I sign.
 
Jannard said:
Future cameras will shoot ultra-high resolution stills and motion... :-)
Click to expand...

Very exciting. I've been hoping for the convergence of these technologies into one truly great camera, and RED is the company to do it. They've invented the mass market for digital cinema and cinema production, and now it's time to re-invent the ultimate field camera. Reiterating my description of my dream camera:

http://www.reduser.net/forum/showpost.php?p=218598&postcount=10

It's interesting that the first time I posted this description, which is now buried in the scarletuser archives, Jim dismissed it, saying that he could already pull great stills from RED ONE. I'm really really happy to see that it was already simmering on the back burner somewhere.

As much as I love the images from RED ONE, I'm less enthusiastic about the weight and the schlepping of tons of parts in the field and the time it takes to build the camera.

I know just about everyone who does extensive field work with RED ONE feels this trade-off. EPIC may mitigate some of this trade-off, with its weight reduction and feature upgrades. But it is already being touted as the ultimate digital cinema machine.

I would love to see RED ONE produce a no-compromises counterpart for its EFP user base, something designed specifically for those applications, which streamlines the gear hauling process, rather than adding to it.

Will there be cross-grades from RED ONE to all of these futuristic cameras, like EPIC?
 
So should I hold off on that 1DS MkIII for now?? What will the lens options be?? Another round of mounts required??

This is the best news I've had in a long time RED DSLR, cheers Jim.

Mark.
 
insane! I agree with jim the dslr market has turned into a very slow
growing ' one tiny feature at a time' market now days, my 1ds is old
yet the latest thing is almost all the features of my 1ds

Ready to blow that market apart too jim!

Hope your scaring the shit out of the bean counters at Sony canon nikon - again!
 
You know what I always wondered about current DSLRs? If the read/reset time is good enough to take video, who needs a mechanical shutter? I know that the mirror is nice for focusing and all, but wouldn't the camera be much more durable, and take far more fps, if you didn't need the mechanical shutter? What if there was a super high resolution live-view viewfinder instead of a mirror reflex system? And wouldn't that be safer anyway because it'd let you see if your sensor had dust on it?

Just thinkin' out loud I guess.

[Edit] By the by, Monstro is due out near the end of 2010, right? And the DSLRish thing is supposed to be using that too? So... DSLR near the end of 2010?
 
Alex.Mitchell said:
You know what I always wondered about current DSLRs? If the read/reset time is good enough to take video, who needs a mechanical shutter? I know that the mirror is nice for focusing and all, but wouldn't the camera be much more durable, and take far more fps, if you didn't need the mechanical shutter? What if there was a super high resolution live-view viewfinder instead of a mirror reflex system? And wouldn't that be safer anyway because it'd let you see if your sensor had dust on it?

Just thinkin' out loud I guess.

[Edit] By the by, Monstro is due out near the end of 2010, right? And the DSLRish thing is supposed to be using that too? So... DSLR near the end of 2010?
Click to expand...

One big issue is stability. SLR lenses just weigh too much to be held at an arm's length. Holding the camera with both hands, elbow to your side and the top of the VF resting on your forehead gives stability.

The rule is 1/f length as shutter speed, to guarantee shake free shots and it just won't be as stable arms out. I think the people getting a D90 or any future DSLR for filming will need atleast a monopod for longer takes.
 
kidrobot said:
One big issue is stability. SLR lenses just weigh too much to be held at an arm's length. Holding the camera with both hands, elbow to your side and the top of the VF resting on your forehead gives stability.

The rule is 1/f length as shutter speed, to guarantee shake free shots and it just won't be as stable arms out. I think the people getting a D90 or any future DSLR for filming will need atleast a monopod for longer takes.
Click to expand...

I actually kind of meant that there'd be a high-res screen in the eyepiece/viewfinder. I totally get what you mean though; holding my Canon A-1 with a 70-210 Carl-Zeiss at arm's length would be impossible.
 
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