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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 :)

My perfect module

Eki Halkka said:
A guerilla run-n-gun camcorder crashcam module:
Click to expand...

Okay, found this on another thread:

http://www.reduser.net/forum/showpost.php?p=478108&postcount=252

Epic setup in the photo has everything you need to shoot minus the power ( just like the RED ONE ) so its almost an apples to apples comparison..

It has EVF/LCD output plus CF recording via the side CF module, HD-SDI out, HDMI out, 2 channels of Balanced Mic Audio in + 48v Phantom power, Headphone out, Power in, RS-242, Genlock/GPIO, all on the Brain itself.
Click to expand...

...so, let's redefine a little. A guerilla module that has a battery, a CF slot (or maybe something smaller like an SD card slot?), a small LCD that doubles as interface display and monitor plus the most essential control buttons. The rest is already on the brain it seems ;-)
 
Casey Green said:
I'm not sure if the brain of an EPIC or Scarlet would be able to handle this additional processing, but perhaps a specialized module could have an onboard co-processor (mini-brain) if needed. It could be a bit pricey, but I think for certain projects, it would more than pay for itself in time saved.
Click to expand...

I don't get why the brain would be doing any scaling what so ever. All scaling should be done on the corresponding module you want a different format on. Say Epic S35 5k... All scaling to 1080p or 720p should be done in the I/O module, or onboard the viewfinder/LCD monitor. This would allow to scale at a different format sizes independently of what the camera itself is doing. Get two I/O modules one at 720, one at 1080... while using the RED LCD at whatever resoultion it would be (send the LCD information overlay as a different video feed over the LCD cable, then overlay after scaling the video in the LCD).
 
Full enabled working Epics and Scarlets with no bugs. No need for firmware upgrade unless you want, not need.

Modular Multi Sided- Some Modules can connect and expand Left, Right, Up, Down like the Back. No Front expandability due to obvious reasons.

Tethered or Wireless connected- Keep Brain and Lens like a Lipstick Camera and all other equipment can be place elsewhere.

DSMC ALL= Broadcast Enabled, ENG TV and RGB FF1080P as well as RAW.These cameras will be professional cameras for LIVE work.

Stereoscopic and HDR Capable.

Electronics, Fan, ASIC and Sensor Upgradeable(I know this is out but still have to put it)
 
How about a fiber I/O or something to connect to Codex Digital and S.Two Units. Not necessarilly Uncompressed Raw but a way to use those devices in something other than just HD-SDI connections. A connector outputting 5k, 4k, ect. that connects to those units.
 
Compact audio and I/O module solution

Compact audio and I/O module solution

How about a 'RED' specific, compact dual diversity receiver module that uniquely also transmits confidence recorded audio. Rather than being tied down with all sorts of hard audio cables, in and out, with the I/O modules, this module option could be a compact solution for freedom of movement loving camera operators.

The module would ideally be sold with an accompanying and reliable but compact 'RED' mixer/ transmitter device. This device would then have all the I/O audio you could possibly want, with confidence return audio transmitted to this mixer from the compact audio module. Perhaps, with one additional direct audio channel in, for on camera generic mikes.

Maybe, a slightly bigger module could do all this and transmit HD vision as well. No cables equals freedom!
 
My answer for this thread was going to be the H.264 dailies module and then they announced it. Stole my thunder! But wooooo!

Joseph Ward said:
Electronics, Fan, ASIC and Sensor Upgradeable(I know this is out but still have to put it)
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We already have that. It's called the brain being a separate module from everything else, also known as the entire point of the DSMC design.
 
Lee Saxon said:
We already have that. It's called the brain being a separate module from everything else, also known as the entire point of the DSMC design.
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I hear what your saying but maybe you don't understand what I meant. What I meant was individualize parts like, the RedOne with the Sensor Upgrade that doesn't cost an entire cameras worth of money for just a brain. But it doesn't matter now, I wasn't complaining just suggesting. Glad to hear about the H.264 Module also. Maybe the new module will have other codecs/features as well.:thumbup1:
 
Another idea for an Epic module

Another idea for an Epic module

When shooting with film or most tape based cameras, it's quite reassuring to hear the sound of film going past the gate or the tape quietly moving, whenever you press the record button. These quiet but reassuring sounds are absent from all file based cameras. Yes, you can see the record light, but often when you are concentrating on the subject matter, you can forget to look to see if the record light is on or not. Could RED incorporate a reassurance sound like this that could be customised to the operators liking? It could be put in one of the modules.... perhaps the I/O module? Fun if it could be either film or tape simulated sounds.
 
Ray Palin said:
When shooting with film or most tape based cameras, it's quite reassuring to hear the sound of film going past the gate or the tape quietly moving, whenever you press the record button. These quiet but reassuring sounds are absent from all file based cameras. Yes, you can see the record light, but often when you are concentrating on the subject matter, you can forget to look to see if the record light is on or not. Could RED incorporate a reassurance sound like this that could be customised to the operators liking? It could be put in one of the modules.... perhaps the I/O module? Fun if it could be either film or tape simulated sounds.
Click to expand...

Hmmm Ray, I kind of understand what you are asking for, but it would be a rediculous feature for most of us using the camera on narative work. We've fought the very film sound for years in film cameas, as they ruin location sound, expecially on quite passages. If this were implemented it would be the first thing I and many others would disable. Which in my mind makes it a waste of Red's R&D time/money. SLRs are rife with this kind of thing. But they have no place on set. Why aren't a red light on the camera body, and a red dot in the viewfinder sufficient?
 
Ray Palin said:
When shooting with film or most tape based cameras, it's quite reassuring to hear the sound of film going past the gate or the tape quietly moving, whenever you press the record button. These quiet but reassuring sounds are absent from all file based cameras. Yes, you can see the record light, but often when you are concentrating on the subject matter, you can forget to look to see if the record light is on or not. Could RED incorporate a reassurance sound like this that could be customised to the operators liking? It could be put in one of the modules.... perhaps the I/O module? Fun if it could be either film or tape simulated sounds.
Click to expand...

If you have the fan mode set to Auto, you will hear the fan spin down when your roll, which is a reassuringly quite sound, then when you cut, the fan picks back up. That works pretty well for me.

Tim
 
Re: selectable confidence sound

Re: selectable confidence sound

Understand about the need to have a quiet camera for sound recording on quiet scenes, just know that when you're shooting a lot under tight schedules, you're looking at the subject, looking at your composition, lighting, camera settings, anticipating what's about to happen in the scene, listening to what's being said, etc, etc. So sometimes when you think you've pressed the record button, you just assume you're rolling... and sometimes (not often) you discover that you didn't press it hard enough or missed it altogether. I use to love the reassuring but quietish, sound blimped sound of film going through the camera. It was an auditory confidence that you got with it. No need to have your eyeball come off the subject to spot that red dot. With tape cameras, I often super timecode in the viewfinder for added reassurance. I know it sounds crazy, but I also know a lot of other camera operators who also prefer to hear that a camera is rolling. If the volume was selectable, you could dial it to be as quiet as you and/or the sound recordist would like. Wouldn't think that this would be too difficult to implement in the scheme of things. I bet there are plenty of camera operators out there who'd agree with me........ yes? There are some really cool types of film and or tape running sounds too... maybe this could also be selectable? Maybe it's a completely new type of sound that is specific to RED cameras... something really, really cool
 
Re: Cool 'Rolling' audio confidence sound for Epic cameras

Re: Cool 'Rolling' audio confidence sound for Epic cameras

Here's another idea. How about the sound of a running 'Confederate' motorcycle, albeit only loud enough for the camera operator to hear? Not sure what that sounds like, but I'm sure it's cool. Pitch could vary as you speed ramp the camera.
 
Not sure this is a module but any way.

I would like a handle, like the one that Ted had on the mock up Epic, that had a a mic built in to it. So you could have a set up like Ted but could shoot sound as well in that tiny configuration. (This is assuming that there is an audio in on the Epic brain)
 
HD-SDI out!

HD-SDI out!

Andrew McCarrick said:
How about a fiber I/O or something to connect to Codex Digital and S.Two Units. Not necessarilly Uncompressed Raw but a way to use those devices in something other than just HD-SDI connections. A connector outputting 5k, 4k, ect. that connects to those units.
Click to expand...

Question: I see that the EPIC will output up to 2K HD-SDI. I think that means that it's an uncompressed 2K images that could be recorded to a codex deck or something S.Two units e.t.c. Is it a 4444 signal? Could be an interesting recording option. Watch out Arri!

Please correct me if I am wrong.
 
Ray Palin said:
Understand about the need to have a quiet camera for sound recording on quiet scenes, just know that when you're shooting a lot under tight schedules, you're looking at the subject, looking at your composition, lighting, camera settings, anticipating what's about to happen in the scene, listening to what's being said, etc, etc. So sometimes when you think you've pressed the record button, you just assume you're rolling... and sometimes (not often) you discover that you didn't press it hard enough or missed it altogether. I use to love the reassuring but quietish, sound blimped sound of film going through the camera. It was an auditory confidence that you got with it. No need to have your eyeball come off the subject to spot that red dot. With tape cameras, I often super timecode in the viewfinder for added reassurance. I know it sounds crazy, but I also know a lot of other camera operators who also prefer to hear that a camera is rolling. If the volume was selectable, you could dial it to be as quiet as you and/or the sound recordist would like. Wouldn't think that this would be too difficult to implement in the scheme of things. I bet there are plenty of camera operators out there who'd agree with me........ yes? There are some really cool types of film and or tape running sounds too... maybe this could also be selectable? Maybe it's a completely new type of sound that is specific to RED cameras... something really, really cool
Click to expand...

I like this idea a lot. No, the red lights don't guarantee you're aware the camera's rolling. Every 20 clips or so I find one where basically I'm wandering around blocking scenes while shooting a nice long take of the floor. It would be nice to at least hear a pleasant bell tone when the button is pressed. If it could be set to loud, it would remind crew that the camera's rolling without the prerequisite yelling and skewing the actor's focus. The "fan on auto" suggestion makes sense also. With all the LCDs and solid state everything, the familiar sounds of the technology landscape of the last 50 years are being silenced. I miss the old click/hum when turning on the TV set and the clatter of my A: drive being searched for a system disk on bootup. Out of date, yes I am!
 
Thanks for the support David. Just you wait, old sounds will be groovy again. Won't they be Jarred/ Jim?
 
ProRes module

ProRes module

I'm sure RED is already working on this but I just wanted to add one more request for a ProRes module that would let us edit immediately in FCP. I know that RED Rocket allows us to transfer quickly into any format, but that means we have to either have a Mac Pro on set or be limited to working on one. A ProRes module would further simplify the post process and make it even faster. While the h.264 module is a welcome addition, h.264 is difficult to work with in FCP and means that it would be limited to dailies only. I think ARRI has the right idea with their dual ProRes recording concept and their "straight to edit" philosophy and I really think we need something similar.

Keep up the good work RED!:party:
 
Is it just me or couldn't the "cam-rolling" sound be implemented on a small headphone? That way, operators can hear it, and sound recordists stay happy.

A similair feature that I've been advocating for a while now is the old-school super8 way of recording-trigger. When pressed it records, when not pressed, no record. I think this was implemented as film is expensive and every second better be worth it. It's the most intuitive sollution I know and if that doesn't keep you from recording half-hours of floor-footage, then I wouldn't trust you with an assault rifle. ;)

Of course it's not a feature that would work where the operator can't touch the camera during the whole take. So cranes and steadies would be out. But even then a remote trigger would also work.

And on a last note, anyone ever wanted USB-keyboard&mouse host functionality? Just plug in an off-the-shelf third party keyboard and mouse for inputting all of the metadata that everyone israving about nowadays. I've suggested this before and on a feature shoot I noticed that our sound-recordist plugged in a USB keyboard to his field-recorder to input his much needed metadata. He loved that functionality even though it cost him a bit extra, so I know I'm not alone with this idea.

Sorry I don't have a suggestion for a complete module.
 
a rear vmount redbrick Module can be nice
For better camera Balance (redmode place)
Like EFP-cams
 
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