My wish list...

[the chef]

all rigth

all rigth

-video: it has to be way way better than the Casio EXILIM Pro EX-F1 but like 1200 fps in full frame(2k?) the casio has only 336x96.
-sync speed up to 2000.
-iso : lets say the nikon d3 can do from 100-25600(expanded) but i suggest something between iso 50-50000 (is that too much?).so u dont need a built in flash.
-15 fps burst up to 120 shots in full resolution raw or what ever is going to be called.
-extreme temperature functionality from -40 up to 150.
-internal hd like 400-500gb(mp3 player like bluetooh headphones no cables to plug ) is kinda cool listening to some music while shooting.
-built in sim slot for mobile phone.
-cableless. wi-fi 802.11 b g I will b able watching my mails and surfing the web on the display of my cam.
-nikon canon mount (already mentioned).
-4-5 inch display.
Oh yeah I frogot, a built in expresso coffe machine that would b dope!!




check out my blog and video at www.framedblog.com www.framedvideo.com

 

[the chef]

oh yeah i frogot all this under a G.

 

[andy batt]

pro photographer wish list

pro photographer wish list

speaking for myself, as a professional commercial photographer:
I'm hoping for a PRO quality DSLR/DSMC. I currently own a Canon 1dsM2, 5d and 1dsM3. I rent 1dM3's and Nikon D3's as needed.

I am not interested in RED competing with 40d's, XTi's, D90, etc. - if you need a prosumer camera at an inexpensive price point, there's a huge selection available from Nikon, Canon, Fuji, Ricoh, Casio, Olympus, Sony ETC.

While $5000 to $8000 is a lot to pay if you are a hobbiest, or a part timer, that price point is the current mark for the top end of the DSLR market. So while I'm not knocking affordability, I think most pro's would feel comfortable with RED delivering within that zone. What I'm hoping is that for that price point RED trumps Canon and Nikon in the areas of capability, UI and post workflow. What I expect (as a given) is the build and functionality equivalent (or surpassing) of the 1dsM3 and the D3.

Based on working with the 'in hand' capabilities of the 1dsm3 and the post workflow of lightroom 2/photoshop cs3, here are few thoughts/suggestions for the still capabilities of the RED DSMC (in no order):

1. Meta Data. Lots of it. Unfettered access to it. Canon and Nikon's cameras record a wealth of metadata, but don't allow adobe access to it. EXAMPLE: i'd love to be able to 'see' the focus point chosen by the camera in AI Servo overlaid in my post workflow.

2. Adjustability in the focus system: I need to know where the camera is focusing, and where it's placing the 'sweet spot' - IE does the autofocus focus to the 'center' of the DOF or is it back or front weighted?

3. Tracking autofocus: the current Nikon D3 has an amazing focus tracking system - the RED will need to match that. A superior 'sideways' tracking would be appreciated (ie a moving subject moves across a fixed camera position - the camera should be able to ID that object and track it - currently the focus tracking seems weighted towards objects moving from 'far to near')

4. Buffer. With a 1dsm3 and 4gb Ducati (Sandisk) cards, I can squeeze off a burst of about 12 images before it hits a buffer wall. I'd love to shoot continuously, with no worries.

5. RAW files. DNG format (at minimum, as an option). An open CODEC that adobe, apple, etc. can access to build robust workflows.

6. Frame Rate - a fully adjustable FPS

7. robust connections - flash sync ports should be miniplug - the standard PC Sync terminals are horrible, prone to failure and wear. Pocket wizard, Broncolor, Prophoto, etc. use a combination of standard and mini mono plugs - they are cheap, ubiquitous and allow inter-operability. Data plugs should be firewire 800, eSATA and USB 2(3) - these should either be standard, or so robust and protected that I would be willing to shell out the $$ for proprietary cables (in a perfect world, the ISO would work with computer and device manufacturers to come up with real world, robust, protected, weather proof connections - the current crop of connections generally suck)

8. Bluetooth capability for off camera control - either proprietary - ie a RED physical build, or maybe RED licensed software for PDAs, or open to allow programmers to customize.

9. A superior 'computer control' software built with professionals in mind. Canon's control software is rank amateur.

10. superfast sync speed: via an optional leaf shutter - I love DSLR's and am constantly unimpressed with the hasselblad H2/H3 - but the one area that Hassy continues to trump DSLR's is with higher sync speeds. I would love to attain 1/1000 of a second for sync. If there is an esoteric tech solution, go for it. Otherwise my suggestion would be to engineer a high tech (read fully integrated) leaf shutter than can be mounted inbetween lens and body.

11. greater dynamic range - getting 12-20 stops of range would be useful - commercial photography generally doesn't allow for multi shot solutions like HDR.

12. lower noise in shadow areas - the least responsive 'area' of the current CMOS sensors is in the shadow section - and is the most likely to exhibit noise - hence the 'expose to the right' concept.

13. lower noise for tungsten light: the blue pixel response of current CMOS chips is more noisy - ie using unfiltered tungsten sources adds more noise (than HMI, strobes, sunlight etc.)

14. sharpness vs. anti-alias.: DSLRs use an anti-alias filter to avoid pattern interference, at the expense of a slight loss of sharpness, and Med. Format cameras flip that. It's usually not an issue, but comparisons of a scene taken by both types of cameras usually shows the difference. I'd love to see another technical solution for alias issues so that a RED camera would have the sharpness of Med. Format.

15. incorporated expansion bay - built into the bottom of the camera, using some kind of industry standard data connection - to allow for additional widgets , but not just a 'dumb' widget - for example, adding a Pocket Wizard widget that adds wireless sync is good, but having a pocketwizard multimax inside the camera, with it's controls presented on the main camera screen is awesome.

16. wimax protocol (or equivalent wifi) - current wifi widgets are too slow for practical use - you can send jpegs decently, but transferring an 8gb cards worth of 22mp raw files is asking for problems.

17. CF card media - the current pro standard. they are robust, an industry standard, and are constantly being innovated and upgraded. plus most pros have many of them already, and would be very unhappy to have to purchase a 100GB's of SD cards.

18. No proprietary media - IE please don't go the Panasonic P2 route of repackaging SD cards and charging a fortune for them.

19. interchangeable focus screens - or if we're dreaming out loud, a focus screen that is bright, but also can you show the focus depth down to f1.2

20. please stick with an SLR optical viewfinder (or it's equivalent) - electronic viewfinders are useless. that said, the live view on the 1dsm3 is invaluable.

21. self cleaning sensors (something that actually works)

22. easy to clean sensors - the easiest DSLR to clean was a FUJI S2 - because it used a stock Nikon body, the sensor chamber was oversized (ie full 35mm frame). therefore it was easy to get a sensor swab inside the chamber and sweep the dust over the edge - the 1dsm3 chamber is so tight, you end up pushing the dust to the edges of the sensor. eventually, with a lot of experience and hard work, you can remove most of the dust, but it's a pain in the ass. I'd suggest calling up the fine folks at visible dust and brainstorming on how to make this process simpler and more effective.

that's all I have for now - will post more as it occurs to me.

cheers

andy batt
www.andybatt.com

[edit] add one more thing - a slower ISO - yes I know ISO 600,000,000 is really sexy, but there are plenty of times I wish I had a ISO 50, 25 or 12. Yes I can add ND or a polarizer, but it's not the same.

 

[Lars Xang]

oh yeah i frogot all this under a G.

I am hoping this is more a pro-level DSLR in the 3000 to 7000 range.

 

[hagenbach]

>10. superfast sync speed:

>11. greater dynamic range

>12. lower noise in shadow areas

>13. lower noise for tungsten light:

>14. sharpness vs. anti-alias.

>20. please stick with an SLR optical viewfinder

>22. easy to clean sensors


i'll second some of above points - they are the real game!

a+

 

[the chef]

yep

yep

I am hoping this is more a pro-level DSLR in the 3000 to 7000 range.

i need to rob a bank then

hey lara take a look at my blog
www.framedblog.com

 

[Benni Diez]

MODULAR MODULAR MODULAR

Yes, even more than Red One or Epic! Think bullet time rigs, reasonably sized stereo rigs and stuff like that.

 

[Brad Olsen]

One thing I don't like about many DSLRs is the tiny viewfinder. I hate pressing my face up against the LCD screen to frame up my shot. I'm sure the DSMC will have a better design

The DSMC is supposed to have the MONSTRO image sensor in it right? The DSMC should have a full frame 35mm version of that image sensor. I figure that the easiest way to avoid major rolling shutter issues in motion or movie mode would be to "window" an area the size of the current RED One image sensor. DSMC footage would have prettier shallow DOF than the Scarlet I'd be more than happy with 1-100fps 2K footage from the DSMC as long as movie footage utilized that much of the image sensor.

Even if there is no way to hook up external audio I think a small stereo mic on the DSMC would be useful as reference audio to help sync audio from an external mixer recording. Or as a quick sound option for home movie recording.

One last thing, could it cost less than the Scarlet? Like $1k? I'd say NO WAY! But if somebody off the street came up and told me before the last NAB that a 3K RED Scarlet camera with a 2/3" chip will cost less than $3k I wouldn't have believed them either.

 

[Sindre Saebo]

Just so Red team doesn't forget (though I know people have wished for this already): Pre-record. In my opinion, it's the single most important feature on the DSMC. Buffer recording of a sufficient number of frames/seconds so the magic moment is not lost if you push the button to late. Everything else I trust is being taken good care of.

 

[fde101]

11. greater dynamic range

I think this is a given, considering RED's focus on sensor tech...

12. lower noise in shadow areas

As with 11...

13. lower noise for tungsten light:

Okay, here is a complicated issue. Tungsten light is blue-deficient, so the blue channel is naturally "dark" on the daylight-balanced sensors that RED creates. The "built-in" solution is to stretch the blue channel to meet the other colors, but this results in slightly more "noise" within the channel, as you pointed out. The alternative is to use filters and increase the exposure to compensate. Other than having built-in physical filters within the camera that can be flipped on and off, I don't think there is a "nice" solution to this...

And I for one would prefer that RED stick with daylight-balanced sensors.

20. please stick with an SLR optical viewfinder

YES!! OPTICAL VIEWFINDER, PLEASE!

22. easy to clean sensors

Why not self-cleaning, like Canon is doing?

 

[SeanAzul]

Dump ISO - I want anything or everything to be exposed properly or how I tell decide.

High speed shooting = Imagine shooting video like speed and allowing me to choose my frames at any point.

 

[rawfa]

Thinking reasonably, I would be happy with this image quality: http://www.vimeo.com/1723303 , full hd, large sensor with loads of dynamic range, lenses compatibility with other brands without the need of an expensive adapter, high quality slow motion, no repugnant jelly belly effect from shaky movements like the D90, around 1k price. All these things were already more or less done by different companies, but they need to be put together and perfected.

 

[Aeron]

I want two of these plenoptic lens with two Scarlets cough, cough, ohh I mean two Red DSMC DSLR.:sarcasm: Light Field Digital Computational Cinematography!:w00t:

http://gizmodo.com/gadgets/3d-magic/...]-308659.php

And this, like NHK Axi-Vision Camera for Virtual Studio System. Z-cam! Together!inch:

http://www.nhk.or.jp/digital/en/technical/pdf/01_2_3.PDF

This is amazing! I love it the possibilities are endless u can do so many cool things with a zd depth pass in 3d and compositing. After Effects will surely have amazing integration aswell. Adobe I love you!

RED if you can bring this lense to market! the effects industry will beat your doors down.

 

[andy batt]

Why not self-cleaning, like Canon is doing?

Because Canon's self cleaning doesn't work. I'm sure it helps, but it requires manual cleaning.

13. lower noise for tungsten light:
Okay, here is a complicated issue. Tungsten light is blue-deficient, so the blue channel is naturally "dark" on the daylight-balanced sensors that RED creates. The "built-in" solution is to stretch the blue channel to meet the other colors, but this results in slightly more "noise" within the channel, as you pointed out. The alternative is to use filters and increase the exposure to compensate[snip]...

And I for one would prefer that RED stick with daylight-balanced sensors.

I'm thinking that the sensors are daylight optimized, but with RAW captures these chips are not daylight balanced. The problem is pretty much as you stated - but since this is a wish list, and RED is like Santa Claus, I'm hoping they can do some magic and tweak the blue channel response.

 

[Ketch Rossi]

What can I say Peter,

great list and frankly been the kind of guy that doesn't involve him self to much in the deep technical aspects of electronic, I fill great that does like you are here to request this kind of important features.

As I must have the latest in Tech, I go creasy in the middle of the Big boy's wars, and couldn't be happier of RED coming in to the game, but for me as I pint it out in Jim's thread, it is important not only to have a Scarlet version of the "DSMC" but also a Epic version of it to be used in the professional field of High Fashion and Glamour Photography were the requirements are for much larger files, some time larger then what even my 1DS III @over 21MP can offer, and in fact thinking for this reason of the Hassy H3D II 50MP.

Will see what pops out of the BIG RED heat soon in off!:sorcerer:


ciao

 

[Daniel Browning]

almost no noise at 64000

Part of light's very basic nature is to fluctuate according to Poisson statistics. Therefore, it will never be possible to reduce this, which is known as photon shot noise. Today's technology is already with 1-3 stops of 100% quantum efficiency, at which point no further improvement will be possible.

Read noise, on the other hand, is an area where it is theoretically possible to improve.

 

[fruitsandvegetables]

wow..I am excited
My wishlist

-price range around 2k but definitly under 3k

-built-in timelapse mode

-adapter ring to use with older manual lenses like Canon FD(uber adapter kits for all the mainstream still camera lens)(they are so cheap)

-programmable option to take a sequences of different exposures in one click aka HDRI image(could be useful for making HDRI sphere)

Now this is a mind blowing feature

-laser measuring device built into camera for image based modeling
and this is how it's gonna work
1.take first photo with laser mark on
2.save the distance in meta data
3.take second photo of same thing without laser mark for camera projection
4.rebuild the 3d scene
5.profit??

-compact design .make it as small and light weight as possible within reason.I don't want big and bulky design to impress me.I want nice and tight.

I will come up with more later.

 

[Daniel Browning]

Daniel Browning's Wish List

Daniel Browning's Wish List

25-100 megapixels

By the end of 2009, I think 50-100 megapixels would be enough to blow my socks off, but 25 MP would be OK too.

Users who want less noise, higher dynamic range, and better SNR can simply resample down to 12 MP.

Big sensor!

The RED ONE and MONSTRO are Super35-sized. All your lenses throw Super35 image circles. That would lead me to bet that DSMC will be APS-C as well. But would you consider doing a larger sensor anyway? There is less photon shot noise. Lenses for the 36x24mm (still 35) format are available in wider variety than any other format. The value is usually pretty good, too.

The really obvious stuff

• The more lens mounts the better (Canon, Nikon, etc.)
• Dynamic range, quantum efficiency, SNR, full-well capacity, etc.
• 900k+ dot display
• Under $4,000 would be nice.
• Good ergonomic design with lots of external buttons and controls.
• Intervalometer.
• Eye-level viewfinder.
• Most of the features of the D700 and 5Dm2

Sensor temperature gauge

One feature that would be very useful for long-exposure, timelapse cinematography, and astrophotography would be having easy access to the temperature of the sensor at the time of exposure. Dark frame subtraction must be correlated with temperature, so knowing what that is would allow the selection of proper dark frames from the library in post production.

Integrated Darkframe Feature

For the times when the temperature is variable, or you don't have (or want to use) a library darkframe, it would be nice to be able to take darkframes using timelapse controls on the camera or in tethered laptop instead of being required to put the lens cap on. For a 180-degree shutter, it would be nice to be able to use the closed-shutter time to take the darkframe.

Optional thermoelectric cooler

It would be nice if there was an option to easily add a sensor cooling unit. Since dark current (or thermal noise) and hot pixels, and kTC noise (a tiny bit) vary with temperature, having control over the temperature would give much greater flexibility in reducing these noise sources, or just being able to use a smaller dark frame library (two or three temperatures of X shutter speeds each).

It will require a lot of power, which leads me to my next wishlist item.

Optional long-term battery solution

Timelapse shooting can easily go 24 hours non-stop, so it would be nice to have an optional long-term battery solution, no matter how much it weighs.

An A/C connection option would be nice.

No shutter/mirror/prism assembly

I think RED ONE has proved that EVF technology has advanced enough to start replacing OVF. This would allow the flange focal distance to be as small as desired.

Built-in filters

With the OVF out of the way, it would be nice to use some of that space for something important, like filters. A couple ND filters, infrared filters, UV, 80A, and a few magenta filters. The magenta would increase dynamic range and reduce noise in many common outdoor lighting situations. Camera and/or software control of the built-in filters would be ideal. Probably limited due to flare/focus issues.

100% live view

This makes it much easier to achieve critical focus in some types of photography. Peaking would be a bonus. Depth of field preview should be available. If there is a mirror assembly, please allow for mirror lockup during composition when using live view.

Shutter lockup (not MLU) live view

For extremely sensitive mount situations (astrophotography, macrophotography), even the minute movement of the sensor shutter itself can cause vibration. Therefore, it would be nice if there was an option for shutter lockup in live view mode. That would require an electronic first curtain. The shutter vibration would still occur, but only at the second curtain where it doesn't affect the image.

Swing and tilt display

One that can swing and tilt to any angle for waist-level, ground-level, and awkward hi-hat mounted positions.

Black and white eye-level viewfinder

I would prefer to have the eye-level viewfinder as black and white, to get triple the resolution of a color LCD. Peaking. I don't know if there are any being manufacturered that way anymore. If not, then a color viewfinder is fine.

Auto ISO

The photographer chooses the aperture and shutter, while the AE chooses the ISO. In the split-second it takes me to switch from 200 to 1600 on my DSLR the shot is gone.

Beginner Auto ISO programming

Allow the photographer to set a maximum ISO for use during Auto ISO.

Advanced Auto ISO programming

Allow the photographer to have full control over the decisions made by the camera AE system through the use of multiple priority levels. The user makes an arbitrary number of priorities and AE choices at each priority:

• first priority: shutter 1/250 or faster
• second: aperture f/8 or narrower
• third: ISO 3200 or lower
• fourth (if at 1/250, f/8 and 3200 already): f/5.6+
• fifth: 1/125 (absolute lowest I'll go, only if at f/5.6 already)
• sixth: ISO 12800.

3-4 fully programmable modes

For example, mode one is set to use full-featured auto ISO above with flash and custom white balance A. Mode two is set to standard manual control and fixed ISO with no flash and custom white balance B, but the AF-assist beam is enabled. Mode three is aperture priority, daylight white balance, -1.3 fill flash, etc.

Allow the choice of analog, digital, and meta-data gain separately.

Analog gain is done before the ADC. Digital gain is done after the ADC, but before writing the JPEG. Meta-data gain is never done at all, it's just a suggestion in the metadata.

If the camera provides analog gain, allow for the use of digital and metadata gain for the same range. It gives you the same effect as using low analog gain with negative exposure compensation, but "ISO 1600 metadata" makes more sense than "ISO 200 analog and -3.0 EC".

Provide a wide range of digital gains

Take a high key shot and resample it to 256x144, then ratchet up the ISO until the noise is unbearable. That's probably the maximum that anyone would ever find useful, that's the level that should be allowed in camera. I can do ISO 56,000 on my meager Canon 20D, so you ought to allow ISO 205,000+.

Some good lossless compressed RAW

Allow for additional (lossless) automatic compression of low exposures. All 12-16 bits aren't needed to record an ISO 12,800 shot losslessly, for example.

Lossy RAW compression

You should definitely allow for an advanced lossy RAW compression. It would be better than resampling to smaller sizes for uncompressed recording.

The sRAW solution Canon came up with stinks. A quarter of the resolution for only a tiny increase in space savings? RED can do a lot better than that.

Consider the openraw format

It's probably too limited for your purposes, but I thought I'd throw it out there.

Add support for your raw format to dcraw.c

It would be a nice gesture.

Don't sell the ADC bits snake oil

RED ONE records an apprpriate number of bits from the ADC, just enough to capture the dynamic range of the sensor. Don't be wasteful with internal processing capacity and flash storage space like Canon is with its faux 14-bit data.

User-upgradable memory

Maybe it can ship with a two-gig DDR3 stick in one slot, and another slot is open. People would want more pipeline capacity (longer burst mode, more flash card buffering) can pop in another DDR3 stick (perhaps even after a year or two).

RAW RGB combined with srgb review

Raw RGB histograms and zebras should be available for overlay even against a white-balanced aRGB review image.

Include all the dark pixels in the raw data.

Let the raw conversion benefit from advances in pattern noise removal algorithms that utilize the dark pixels.


Don't clip the blacks in RAW like Nikon

You already amplify your black by 50 ADU in the RED ONE. Keep up the good work! Elevating those levels will make sure that all the read noise patterns are recorded fully, which makes them much easier to remove.

Truly RAW RAW

Don't be tempted to use noise reduction in high ISO like Sony did, even though it will mean less sales because of consumers who don't know the difference between software noise reduction and low noise. Of course, double-correlated sampling and other hardware noise reduction is unrelated.

If you record multiple aspect ratios, the default behavior should be to indicate the aspect ratio (or crop) in metadata, while the full image is always recorded. There should be a second option to allow some users to actually record only the desired area, to save space, frame rate, etc.

New Lenses

If you're going to make new lenses, please go fast and wide. My favorite is the Canon 24mm f/1.4.

HDR assist

Assist the photographer in shooting High Dynamic Range photos by allowing him to setup two or more different settings, then taking all the photos in rapid succession. E.g., four shots with four different shutter speeds, all taken in less than one quarter-second. Metadata could indicate that these are to be processed as a group for High Dynamic Range.

In-sensor HDR hardware

I know there are hundreds of patents on various CMOS HDR hardware designs. A lot of people think these existing designs work pretty well. Consider doing your own?

User-editable firmware

Allow users to develop their own firmware to run on the camera. CHDK shows how useful this can be.

Open Source Firmware

Even better than letting us write our own is letting us improve yours.

 

[PDBreske]

I'm new to this site, but not new to photography, so I wanted to add my two cents:

While I love a big, bright optical viewfinder, I think EVFs are the future. A mirror is just too big and slow to work at the kinds of speeds we are asking from this new camera. Plus, it makes the camera big. If an EVF could be made to provide the highest resolution possible - something impossible to distinguish from an optical view with the naked eye - it would be a boon to photography. Just think of seeing the exact image you will capture, corrected for white balance, depth of field, dynamic range. Of course battery consumption would be an issue, but battery designs are getting more and more efficient. Perhaps and "eye-start" system that would turn on the EVF only when your eye is peering into the camera?

Contrary to some other requests, I don't want it to be big and imposing. Nor do I want it to be too small. The size should be "just right." People with average hands should be able to manipulate the controls without fumbling, but it should also be hand-holdable for long shoots with relatively long lenses. Unlike cinema cameras, still shooters are more prone to work without a tripod and a camera with a 70-200/2.8 lens attached is heavy. While some heft is good for stability, there is a trade-off.

In-camera stabilization is a fantastic thing. Any lens could be used and gain the advantages of the system. This is probably the hardest thing to design as it would have to "talk" to every type of lens to calibrate the sensor-shift mechanism.

I think a full-frame 35mm sensor would allow for the greatest range of available lens use, but a square sensor would be fun to shoot with. You wouldn't need a vertical grip option!

I tend to like rugged industrial design, but for something that is going to be in my hands for long periods, I want a nice, smooth, ergonomic shape. As stated above, still shooters handle their cameras off the tripod a lot, and the design of the Scarlett looks like it just wasn't made for the hands of a human. Take note of Minolta/Sony SLR ergonomic design - these cameras are a joy to hold and operate.

I would like to think that you guys could perfect an electronic shutter, and if so, give us show-stopping flash sync speeds. I know some have asked for speeds up to 1/1000sec, but why stop there? Without moving parts, an electronic shutter could do much better than that.

You'll notice I haven't asked for much in the way of motion picture capture. The truth is, if I want a video camera, I'd buy a Scarlett. Having the ability to capture very high burst-rate sequences is a nice feature of a still camera, to be sure, but shooting a two-hour feature film is not what a still camera is supposed to do. I'm sure it can be designed to do that, but that would just add weight, complexity and cost to what could be a wonderful tool for the still photographer. Don't mess it up with so many bells and whistles that only the elite can afford it.

 

[RED-Tank]

A very small request,

Is it possible during the motion-recording, I can have an option of 'canceling' the recording if I am sure that is the very bad take.

I understand in firm days, we sometime need a lot of 'NG' to get the best shot because once the firm has rolled, you can't roll back or re-use.

But it is digital era now, won't it be nice if we have a cancel button during the recording.

This would be really helpful for event shooting as well when someone suddenly block into the view just when you want to record the scene.

I understand you can always remove it from the thumbnails later, but that is extra step and take out unnecessary process time (perhaps).

I am asking this because most of the DSLR today always have an option of showing 2-4 seconds preview immediately after take, give you a chance to erase the file if you don't like it. Can RED do the same for the motion clip in DSMC ?

Thanks.