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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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Jannard

Jannard

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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
 
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...

Jim, keeping secrets may not be the best choice for your health....

I think it is in your best interest to unburden yourself.... And quick!

Now, exactly what has been keeping you up at night?

And remember, my Only concern is what's good for you here:-)
 
That's right, Jim. Just let it all out and you'll be able to sleep again.
 
Jannard said:
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.

Jim
Click to expand...

ADOBE SUPPORT... NATIVE REDCODE SUPPORT FOR ADOBE PREMIERE (RT EDITING), REDCODE READABILITY/USABILITY in After Effects.
 
I'd like a RED LCD twice as large as the original, same light weight form factor, powered from the RED.

The original rocks, but sometimes it would be nice to have a large(r) LCD...... That didn't weigh 10lbs w/battery.
 
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
Click to expand...

now I can't sleep !
-A
 
I haven't got mine yet but there's a RED shoot in London today, so I'll drop by to have a look at it.

I will quickly let you know my initial thought afterwards, before the RSA party :tongue: .

One thing that would be great for generation two is to be more withholding with cold weather. I've shot a lot in the arctic circle and so far the ARRI cameras run like clockwork. I know the F23 and other cameras are rated around 0 degrees celsius, but that is no reason for next generation RED not to be better :weight_lift:

Two other things are firstly templates or already made cases (preferably Peli cases or storm cases) so we don't have to wait that long to make and laser cut cases (maybe you already have this and I don't know about it? My apologies then). I think that templates for the different gear for us to use when w laser cut our own configurations is the smartest, but it's also nice to see what configurations you recommend.
Secondly a weather protection for the RED camera would be great. Something that stand rain and water and maybe it can have sleeves for heaters to be put in for shooting in cold weather? (I know this is 3d party gear but there's no reason for you guys, that already knows the camera, not to make it).

Anyway thanks and I can't wait to get hold of mine :gun:


fred
 
Tethered (snap) shooting for exposure fine tuning (REDCINE).

Jannard said:
If you expose to keep detail in the highlights (waveform or histogram in camera) you will not be disappointed in the DR of RED. It is not film. But it competes with the best DSLR's on the market... and certainly other digital cinema cameras.

I show examples to people who come over how easy it is to "take out" the range. Gotta learn it and then it becomes second nature.

The ones that suffer most are those that are used to shooting film. The knee-jerk reaction to make sure there is detail in the shadows at all costs end up with the footage that has the most blown out highlights. Digital is exactly the opposite. You need to protect the highlights you want at all costs during exposure.

Jim
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Give as a tool that is DSLR shooting standard.

"For many photographers, shooting tethered is a way of life."

I mean HERE with RED not tethered shooting of moving images.

Possibiliy to have just one (snap) shot for exposure fine tuning in RAW developer software/REDCINE.


What You See (and Adjust/Fine Tune) Is What You Get.
 
Since you asked...

Since you asked...

Love the camera but since you asked for issues here they are, in order of impact on production:

1) Battery mounts get sloppy with use

2) Monitoring output limited to one type at a time

3) No EVF

4) Cold start ups / thermal management

5) Pixel for pixel zoom in for focus check, 2x is not enough on the LCD

6) Noise in low light, particularly the blue channel

7) False color rocks, could you assign side button #1 to false color toggle

8) Focus assist GUI refinement

9) Larger font size in RedCine

10) Clean 1080P out

The RedOne is 2 years downstream from the big brainstorming session in December of 2005. In that time the Red Leader and the Red Team have created a camera that, despite the issues listed, I have successfully integrated into highly demanding professional sets. That is no small feat. They have also managed to provide exemplary customer service despite the fact they have only a handful of employees.

I count myself lucky to be an early adopter of this camera. Viva la Rebellion!

Now about the future Santa Jannard, I want a 4K projector for DI, and a ...
 
Thanks for asking. The main thing I'd like is native 4k REDCODE in FCP (with nothing lost in the process), graded in Color and then back to FCP for 4K DPX output. But maybe I should be saying this to Apple. Can you tell Apple that we're all having to use After Effects and loads of other things, and Apple isn't the one-stop-solution we all hoped for. And they need to improve the Mac Book Pro video card drivers so they can work with Redcode.

A wireless 4K monitor on set would be handy.
 
Blair S. Paulsen said:
6) Noise in low light, particularly the blue channel
Click to expand...

This should be number one in my opinion. I'll judge a camera by its image 8x over before I care about the battery mount(although that stuff is important). This is about image quality for me. Not that it's bad by any means but I really was hoping to use it at high ASA's with suprisingly low noise. This is a huge area that I thought RED could possibly out perform film. Considering what it looks like at 320 in daylight projected on a 50' screen(noiseless) and what some DSLR 1.6 crop sensors can do at 1600.

There is some real ground to be broken (lighting wise) with cameras that can perform at new low light sensitivities. Such as: softer more natural looking sources, less on set heat, smaller lighting packages, higher fps options, use of natural sources, less electricity consumption, more DOF if desired, more shuter angle if desired and see the sky at night in a city(ala Miami Vice without the snow storm).

This was the only minor complaint a fellow professional of mine that just finished a feauture. It wasn't as sensitive as he had hoped. Everything else can be fixed in the long run. Ergonomics, workflow, etc.

Oh and not to be a broken reccord but full frame 60fps 2k or 4k. Huge! Vital for professional commecials and mv's.

I'm cheering for this camera and effort all the way though.
 
hello jim my wish list is just for redcine or rd alert, everything else is said by the pots before.

0. false color option in ra/rc.
1.
imagine for a second that the REDAlert software can load a 3D_LUT and that the LUT will be AT THE END of the math process.
I calibrate my Mac to Rec.709 ( or a different output, better if I have a calibrated monitor output ) and I grab my raw file.
I load the 3D_LUT who is the combination of the [ Film-Log simulation to DI color space]+[Rec.709 conversions]. The first will depend on the lab you're printing but for the sake of exercise I'll assume there is a average standard we can safely assume valid.
Now, when I manipulate the picture with the REDAlert software I'm actually working in Film-Log color space and the 3D_LUT is helping me to view in a environment who is simulating the final print.

Then I've three deliveries I have to produce:
a) Quicktime dailies, simply leave all the LUTs on and bake it in the quicktime file ( may be a simpler version trough am ICC profile or something similar )
b) 4K pictures for DI environment, turn off the 3D_LUT simulation and render just the REDAlert software part then make DPXs
c) store the REDAlert files settings for future use with the project.

All the deliveries have the same look and the same is saved for tweak if necessary.

The Log mode and the Rec.709 mode in the REDAlert software seems not to give what i need at the precison i need...

1.2. some preset 3d Luts to load

2.
conform application and the red tools (you hackers are great)

3.
this camera is the best thing, i will ever buy me, so should the postworkflows be as great as the camera.

the coolest would be, native editing in fcp, send native to color or AE, output as whatever you want. just a idea.

i know everyhing i ask for scratch can handle, and scratch is a really cool thing,
but i am not a posthouse, just a indy one man show...
thanks for everything you do,
and i am sure, in the not the distant future, you will rock me again.
 
the d-tap issue is really bad,
blowing a 1000 Dollar monitor because of this, is really annoying.
it can always happen during the heat of a shoot.
and the poblem can be solved really easy.

a breakout box or some mini xlr to XLR adaptors at the red store would be great.

the ability to use the evf smooth_ element technica will have a solution for that,
would be cool to buy it through red.

and a RED FOLLOW FOCUS.
 
What is needed most.


1. SUPER STABLE Camera firmware and Post software.

2. MAKE RECORDED RED footage the easiest in the world to access (A 2k or r3d workflow as easy to access as QT proxie workflow.)

3. A BETA TESTER PROGRAM with quarterly software releases.

with this in place.

RED CORPORATE helps to get RED CAMERA SYSTEM accepted as a BROADCAST STANDARD (saves individual users trying to sell it and explain it to every new client) Sony does this well. Panasonic has gotten better at it.


INNOVATE
INNOVATE
INNOVATE

Continue to raise the bar in this field. It's very refreshing.

CONTINUE TO LISTEN

(look to AVID as an example of what NOT to do)

Thanks for asking.
David
 
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