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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 :)

RED future...

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maclean31 said:
Substantiated rumor has it that there is a red camera "on the truck" on the new bond movie and that tests have been done with it on the new "Paul Greengrass" movie.......
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ARRI has mentioned to me that they would be interested in my RED for the BOND but I don´t know how serious they are.

I think they´re just making sure they have equipment if needed.
 
As I understand it Roberto Schaefer (DoP of the new Bond) is very interested in Red, and has done tests with one (don't know whose) for use on the VFX unit.
 
Jannard said:
Keep telling us what you need.
Jim
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1. Shock absorbing add-on casing for Red Drive.
cca. 1 inch thicker than Red drive with dual level system - one level for larger low frequency vibrations like accidental bumps etc, and one for higher freq vibrations.
Low freq. vibrations - mini pneumatics or cross-hanging solutions used with studio mics
High freq vibrations - gel or foam

2. Multifunctional portable device
7-10 inch 720p display, CF reader and backup, clip management (marking and deletion), shooting scheduler (interoperable with RedCine), connectable to RED for live preview and dual recording, touch screen, RED remote

3. Clip marking in camera
3 levels (or customisable amount), recognisable in RedCine for quick level based filtering

4. Camera control add-on modul
The amount of functions and settings will rise. Two many buttons is a mess, two few decreases shooting speed.
3-4 inch modular OLED touch screen controller. Buttons change function and are quickly acessible. No more than 3 or 4 main menus. Add option to organise GUI/shortcuts in RedCine

5. Internal memory buffer for high fps
8 -16 GB. Non dependent to Raw port.
Real time conversion to Redcode is not a priority (to me). If the amount of data is too large, let it record to RAM, then compress to Redcode.

6. Heat to energy chips in Red One/Two/n... ;)



my two cents...for now
 
At this point I'd be satisfied with more clarity around accessories that RED is currently developing (MB, etc)--- to see the same openness afforded the camera applied to all support equipment. i.e status, ballpark delivery dates, anticipated pricing. That would go a long way to helping me plan my business and avoid costly alternatives.

Other than that, I would be happy just getting my camera.
 
weirdcrew said:
ARRI has mentioned to me that they would be interested in my RED for the BOND but I don´t know how serious they are.
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That would be sweet if they shot Bond on Red!

If I had my Red I would let them use it for free, just so I could hang out on the set and brag about it to all my friends.

Back on topic.
I am looking forward to some details on the RED-RAID (EDIT: not RED-DRIVE but the RAID array that connects to the RAW port). I'm hoping for user-replaceable (NOT hot-swap) 3.5" SATA drives. Also, after shooting I want to be able to compress the RAW to RedCode RAW or RGB to save on storage space.
 
1080

1080

Everyone here has made some very valid points. I would like to add having a 1080p/i in camera acquisition is essential in the broadcast world. I know you said that a second build would come some time in 2008.

There is no 2K or 4K workflow and only recently 1080 in the broadcast arena. Life would be very tough if owner operators shot elements in 2 or 4K then had to go home to down convert footage to 1080 and then have to shoot for another client the next day. Ideally, one would shoot in 1080 and at the end of the day just hand over the flash cards or hard drives and move on to the next job. And when the commercial and SFX jobs come in... Well, I am sure you know the scenario.
Thanks again for Listening



Respectfully


Method
 
Jannard said:
We have things in the works that will scare you they are so cool. Stuff so good that I can't sleep anymore. But we are also mindful that we need to solve issues now and take care of our customers so we are in business next week.

Keep telling us what you need. We know what works... tell us what doesn't. We are learning about this camera business everyday. We really want to earn your support.

If it wasn't for these darn bugs.... :-)

Jim
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IMHO Your best post ever. for sure.

Honestly, i was wondering...about RED continuity, even if you're very experienced in stratosphere business, due to all the energy needed to achieve such a project.


OK...

It's an old subject, but 2K full sensor ( for overcrank) would be my priority.

AND

on RED site, it would be very helpfull to have a section "suggested configurations" with pictures and included accessories.
 
Wishes:
- high quality audio limiter (switchable)
- in-camera clip trimming
- time-lapse
- Sound Deviced-type audio imput level knobs (instead of menu based)
 
What I would hope for is for RED to not forget the mini. Tap into the education and hobbyist/amateur filmmaker markets with the RED mini. I'll never get a 30K RED package but a 10K RED mini package is very doable for shorts or low end freelance work.

What would be nice...
RAW to CF card built in default, perhaps 2 CF slots?
Does not need to be 4K, 2/3" sensor or 1/2"?
A complete package with low end lens and viewfinder for under 10K

Basically a Sony EX1 with Redcode RAW recording.
 
I'd love to see REDCINE support Magic Bullet Looks natively. Also, maybe update the Flash drive to support two cards for hot-swapping on long takes?

Since this is a wishlist and all, some kind of intelligent auto-focus for RED lenses would be simply outstanding.
 
Jannard said:
We have things in the works that will scare you they are so cool. Stuff so good that I can't sleep anymore. ...

Jim
Click to expand...

only hope it's not some wetware :shifty:
 
I'd like 2 or 4 slots for the CF module. I don't care if when I put them in if I have to format them all at once to 4k or 2k and then swap them all at once. The other major CF improvement would be a raid 1 cf mount that recorded to two cf cards at once (you'd put the raid module in the cf module, so no changes would need to be made to the camera.

Native Workflow support for

Adobe (After Effects and Premiere)
Apple (FCP, Shake, Motion, Color)
Avid

For all the above programs we need a plugin like we saw at NAB to adjust color in the timeline.
 
I want a high speed camera. 200fps or more. Most of my commercial work shot on 35mm is at 120fps. Commercial Directors like to overcrank everything. I would love to see a RED camera similar to the Arri 35-3 or the 435.
 
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