Welcome to our community

Be a part of something great, join today!

Log in
  • 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 :)

Red Cage or Big Magazine

T

tj williams

Well-known member
Joined
Jan 17, 2007
Messages
955
Reaction score
0
Points
0
Website
www.camera-person.com
Originally I believe the RED Cage was developed to make the camera seem larger and more professional. It does give the camera a lot of handles!

I've been thinking about how I'd like my RED to be larger and the answer for me is a big magazine (on-board red raid)

kinda like how Panavision has either 400 ft. the standard Mag.hand held, crane etc. or 1000ft magazine on the dolly. What I'm imagining is the red raid, in a rear rail mounted configuration. There really is a style component in a 1000' panny mag. I mean you know you're not just shooting another spot.

I wondered if others here would prefer:
A. The RED cage
B. The big RED magazine
 
tj williams said:
I've been thinking about how I'd like my RED to be larger and the answer for me is a big magazine (on-board red raid)

I wondered if others here would prefer:
A. The RED cage
B. The big RED magazine
Click to expand...

RED RAID is 10GBits/sec

RED magazine looks cool.
I think in 18 months we will have something portable at 10GBits/s but not now.

Andrew
 
No offense, but that sounds pretty rediculous. It's not a sub-micro camera we're talking about in the first place. It's plenty big without strapping on the red-fridge.

Besides, if you need to compensate for something... buy a convertible. {kidding} :whistling:
 
I believe the matter is that in the search of the perfect shape, the size/weight ratio is the clue. For example : while the Arricam ST/Moviecam Compact has good sizes and the possibility to have the mags top or rear mounted, their are to heavy. The 435 is too heavy too but it´s going to be the high speed champion for some time. The Moviecam SL/Arricam LT feels perfect in both weight and size. I´ve been shooting a lot with this camera (SL) and it´s a fantastic tool. On tripod it´s great. Handheld is the best, small light but enought to add the camcorder earthquake feel. It has balanced mags for steadycam use and you can change the VF to the long eyepiece. A little bit quiter and 150 fps capable and it should be the perfect film camera. I´ve heard many times that all this silent cameras are really high speed capable just that they don´t want to hurt their high speed camera sales....I found the Arriflex 235 too light and the 535 tremendously heavy. Don´t have real experience with Panavision cameras.
 
I don't see why this idea is so "Rediculous" as Wade puts it. A solid state memory array does this easily with room to spare. Its just expensive thats all.
 
It gets you RED CODE
Is there a way to convert RED CODE back to the RAW without the loss of any information in it, including any pre-sets?
 
tj williams said:
I wondered if others here would prefer:
A. The RED cage
B. The big RED magazine
Click to expand...

And I wonder if somebody ever has thought about noise ratio: You can have the biggest whatever you wan't if you like. But what, if you need a camera around 20 dB? And by the way: THIS IS NOT A FILMCAMERA, forget it, it's digital cinema. Why I need a filmmagazine as storage? We are in the future not in the past. By the way, I love the old filmcamera, most of them are beautifull to me.
 
Andrew said:
It gets you RED CODE
Is there a way to convert RED CODE back to the RAW without the loss of any information in it, including any pre-sets?
Click to expand...

REDCODE RAW = RAW
Uncompressed RAW = RAW
REDCODE RGB [1080p and 720p only] = not RAW

No, there is no way to convert REDCODE RAW back to RAW... because it already is RAW.

There are no presets for REDCODE RAW or uncompressed RAW [beyond setting daylight/tungsten for viewing in-camera] - you just shoot it.
 
I think an onboard magazine to record uncompressed RAW will happen at some point in the future. Probably within the next couple years... Definitely not this year, probably not next year either.
 
Brook Willard said:
REDCODE RAW = RAW
Uncompressed RAW = RAW
REDCODE RGB [1080p and 720p only] = not RAW

No, there is no way to convert REDCODE RAW back to RAW... because it already is RAW.

There are no presets for REDCODE RAW or uncompressed RAW [beyond setting daylight/tungsten for viewing in-camera] - you just shoot it.
Click to expand...

Brook, I see we have misunderstanding.
I thought TJ wanted to use high speed port on RED to install RED RAID instead of RED FLASH or RED DISK which both are using eSATA interface.
So high speed interface on RED is shooting RAW including metadata.
eSATA interface for RED DISK and RED FLASH has lower speed and does what?
I have seen it in the other thread but forgot.
Most recent workflow diagram is here:
http://austinfilmtools.com/pages/gear_red_one/red_one_workflow.htm

So if there is no difference in RAW and RED CODE why we have two different labels on this diagram for high speed and eSATA?
I am bit confused here.
Andrew
 
Brook, sorry for all these questions, so what is the difference in terms of data size between REDCODE RAW and Uncompressed RAW?
1:5 ??
 
And just to clarify, the RED DRIVE can hold roughly 3 hours and 18 minutes of REDCODE RAW 4K footage.

Or approximately 17,873 feet and 8 frames of four-perf 35mm film.
 
The compression is from both a visual and technological standpoint.

Yes, REDCODE RAW will have all of the camera's metadata encoded. The amount of detail in the metadata is currently unknown but what we've heard hinted is well beyond what anybody is used to.
 
You must log in or register to reply here.
Back
Top