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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 :)

New features... Happy Holidays!

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Greg David said:
Ok, I am confused. I see some people say that there is no "onboard audio" but the facts thread on this site states:
"Mini-XLR Audio Inputs – These ports provide phantom power for either line or mic input for four channels of balanced audio input. They are capable of recording uncompressed 16/24-bit audio at 48KHz. Pin-outs consist of ground, audio in [H], audio in [C]."


Someone please help me out here.
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4 channels of uncompressed audio are built into the camera but the audio has not yet been enabled in the firmware. So yes, it has audio. No, you can't use it yet.
 
Jannard said:
While delays seem painful, there are a lot of great things happening around here. Not only is the image better and we have a terrific new lens mount almost finished, features are coming... fast and furious.

It should be a nice holiday season for RED users.

Jim
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And visions of sugarplums dance in my head...
 
i was down at HQ this week getting my back focus adjusted and snuck a peek (they will probably be mad at me for having done that...sorry y'all i was just curious) at the new lens mount when everyone was grabbing a pizza lunch...one word...

BADASS!

(i guess that was actually two words, but u get what i mean)
 
The theory behind the new lens mount is to create/invent a PL mount which does not need to be shimmed, correct?

Does this mean that once it is set up it will be a "one time" "back focus style" adjustment or will we have to make and adjustment with each lens change?

David
 
Every PL mount needs adjustment for one reason or another... extreme temperature, a lens that is not properly calibrated that you are stuck with... etc.

Shims are only for trained professionals and take some time to get right (assuming you have the shims).

The problem with adjustable mounts is that they move (B4 are notorious) and imprecise. Our solution is to set it right and lock it down. If there is any good reason why you need to adjust it, it is very precise and solid. Plus, it takes only a minute or two to adjust. This is pretty cool stuff.

Sleep tight. RED design is awake.

Jim
 
Jannard said:
Every PL mount needs adjustment for one reason or another... extreme temperature, a lens that is not properly calibrated that you are stuck with... etc.

Shims are only for trained professionals and take some time to get right (assuming you have the shims).

The problem with adjustable mounts is that they move (B4 are notorious) and imprecise. Our solution is to set it right and lock it down. If there is any good reason why you need to adjust it, it is very precise and solid. Plus, it takes only a minute or two to adjust. This is pretty cool stuff.

Sleep tight. RED design is awake.

Jim
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This sounds great Jim. I'd always hoped for somethinglike this.

Couple of questions:

Will the design be implemented in all of the mounts you produce, such as the nikon?

Do you have any advice for suitable calibration tools that you are using with the device to measure it's accuracy... OR Will you be producing such devices yourself in the future so that swapping out mounts oneself would be an exact science?

Thanks

Paul
 
Jannard said:
ove (B4 are notorious) and imprecise. Our solution is to set it right and lock it down. If there is any good reason why you need to adjust it, it is very precise and solid. Plus, it takes only a minute or two to adjust. This is pretty cool stuff.

Sleep tight. RED design is awake.

Jim
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Great work! Adopting a video lens concept and applying it to film lens.

Film lens and camera manufacturers can hang their heads in shame!

Geezzz I hope it works :)

Mike Brennan
 
Jannard said:
Every PL mount needs adjustment for one reason or another... extreme temperature, a lens that is not properly calibrated that you are stuck with... etc.

Shims are only for trained professionals and take some time to get right (assuming you have the shims).

The problem with adjustable mounts is that they move (B4 are notorious) and imprecise. Our solution is to set it right and lock it down. If there is any good reason why you need to adjust it, it is very precise and solid. Plus, it takes only a minute or two to adjust. This is pretty cool stuff.

Sleep tight. RED design is awake.

Jim
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Thanks Jim. It's a great idea. I am really glad that you guys have moved in this direction. It's great that you guys are rethinking things.

Very Cool.

David
 
Back focus adjustable PL mount.

Back focus adjustable PL mount.

If now any lens, regardless of it's back focus precision, can be tack sharp in just a couple of minutes, then this is what ices the cake! No longer will our work suffer from the limitations of the gear in the form of soft shots.
Janard is our hero!
 
Sorry if this was answered elsewhere, but will the new mounts be more easily interchangeable with other mounts -- i.e., will we be able to switch from cine to SLR lenses (and vice versa) in a pretty tight timeline and using a minimum of equipment?
 
Onboard 2540p 24fps! 150:1 compression ratio lossless. 60 minutes of 4K@24fps on an 8GB compact flash!

Maybe when ever you press a button, you hear a recording of Jarred telling you what the button does!

When I saw the title of the thread I thought it would be a Christmas movie shot on RED.
 
Jannard said:
While delays seem painful, there are a lot of great things happening around here. Not only is the image better and we have a terrific new lens mount almost finished, features are coming... fast and furious.

It should be a nice holiday season for RED users.

Jim
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Christmas Man in town, and I have got many socks in CHINA !!!!
STEWART
 
im.thatoneguy said:
4.5k 2.39 Scope?
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Yes, please.

Kinda gets me wondering about the windowing abilities of the sensor and if windowed areas can be completely arbitrary. Would a RED camera format of 4520x1884 (4.5K 2.40:1) be possible and how would it compare to images shot with Dalsa's 3.8K 2.40:1 sensor?
 
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