RED future...

[Eirik Tyrihjel]

Things I would love to see fixed before my camera ships.

Things I would love to see fixed before my camera ships.

I know Jim and the people at RED are working hard on providing us all with the best camera every built!

We have signed up for to a camera where everything is subject to change, and almost everything HAS changed and so far for the better, at a price... a looong wait, and I have no trouble with that seeing everything (so far) has changed for the better!

My list of fixes (or procedures) I would love to see implemented (some are software some are hardware).

1) Bent/broken pins on CF flash module, I would love some ingenious workaround if it happens! (Make the CF module easily exchangeable, so we can have a spare on set)

2) Cold performance, Jim said in another post that he recognises this is a problem for some users, and that they will look into it. (unfortunatly we all don´t live/shoot in a southern Californian climate, altough with global warming we might soon...)

3) Emergency procedures for broken buttons, I Would love to have RED include a way to work around any broken buttons, if a button doesn´t respond, give us a way to work around it.

Thanks to all the early early adopters (1-100), for their feedback! I am sure my investment in RED ONE is a good one, I understand RED has even more up their sleeve!

 

[David Mullen ASC]

The thing is, there are already 2X anamorphics on the market for rent or sale, but there are no 1.34X anamorphics. Plus if they make them front-element anamorphics, there should be some classic anamorphic artifacts. You can see some with Dalsa's anamorphic lens, and that is only a 1.2X squeeze.

Plus it should be easier in theory to design and make good 1.34X anamorphics than 2X anamorphics.

And I think a number of people would like to both get classic anamorphic lens artifacts plus use the whole sensor for imagemaking.

I mean, you can put a 2X anamorphic lens on a RED camera today, so why would that count as "new" technology? RED doesn't have to do anything to make shooting with 2X anamorphics an option, Soderberg is already doing it.

 

[Pig]

Solve the 1080p debate by making it so the HDMI port will output a clean (no graphical overlay) 1080p.

Those who want 1080p can then purchase a third party hard drive recorder, or even convert the 1080p HDMI to SDI, or analogue, for live switching.

2nd that!

 

[Gavin Greenwalt]

Oh yeah that reminds me:

11) custom frame guide overlays from a grayscale tiff.

 

[Adrian T.]

T stop markings on the 300 mm lens.

 

[MikeHedge]

can someone add all the suggestions into a survey thing? that way we all can vote... so Jim and the team can get a sense of importances....

I have seen them on this forum before, but don't know how to create one...

 

[Michael Hastings]

Anamorphic question re: a Todd AO anamorphic on a fujinon lens.

Anamorphic question re: a Todd AO anamorphic on a fujinon lens.

The thing is, there are already 2X anamorphics on the market for rent or sale, but there are no 1.34X anamorphics. Plus if they make them front-element anamorphics, there should be some classic anamorphic artifacts. You can see some with Dalsa's anamorphic lens, and that is only a 1.2X squeeze.

Plus it should be easier in theory to design and make good 1.34X anamorphics than 2X anamorphics.

And I think a number of people would like to both get classic anamorphic lens artifacts plus use the whole sensor for imagemaking.

I mean, you can put a 2X anamorphic lens on a RED camera today, so why would that count as "new" technology? RED doesn't have to do anything to make shooting with 2X anamorphics an option, Soderberg is already doing it.

Probably off topic but we seem to be on a side discussion of anamorphics: I have two older Fujinon 7x7 video lenses that have a custom Todd AO anamorphic converter built on to them (I dismantled one). It is a very large (probably 125mm at the front) element. The only info I could find on them from someone at Fujinon was the suggestion that they made about 100 of them and they were purchased for a teleconferencing college lecture application.

I'm wondering if anyone knows/could speculate on whether they were 1.34 which would have taken the old 4/3 video to 16:9 or is it more likely that ToddAO stuck with one of their traditional optics and made them 2X. In either case is it likely that the optics would be sharp enough for use on film/4K if I used it to convert something like a RED zoom or still camera zoom on a Birger mount? Purchased surplus a few years ago on ebay so not a lot invested but they were pristine at the time. The fujis were either 77 or 82mm front end so could presumably handle up to that size lens.

 

[David Limpus]

Hardware unit that would handle streamed redcode raw from the camera that would be the replacement to the current Camera Control Unit (CCU) for Live or sudo Live events. With the ablity to have one unit as a centralised control for a multi camera system.

 

[Brent J. Craig]

Wouldn't a 2x anamorphic on a Red shooting 4K 2:1 give you a 4:1 image?!? Where would you use that? Are you shooting for Disneyworld or something?

 

[Jeff Kilgroe]

The thing is, there are already 2X anamorphics on the market for rent or sale, but there are no 1.34X anamorphics.

Good point.

Plus if they make them front-element anamorphics, there should be some classic anamorphic artifacts. You can see some with Dalsa's anamorphic lens, and that is only a 1.2X squeeze.

But "some" is the key word. I think it depends on why someone would choose to shoot anamorphic and what look they are after. Of the imagery I've seen from Dalsa and their anamorphics, the classic anamorphic artifacts (elongated lens flares, stretched bokeh) is very mild compared to what is possible from a classic 2:1 anamorphic lens. Then again, a 1.34X would be slightly more apparent in that respect than a 1.2X. Someone could always use existing 2:1 glass to get the full anamorphic effect if they desired.

Wouldn't a 2x anamorphic on a Red shooting 4K 2:1 give you a 4:1 image?!? Where would you use that? Are you shooting for Disneyworld or something?

It would actually 3.5:1. The reason to use a conventional 2x anamorphic on RED would be to retain the full optical effects of "classic" anamorphics. In most situations you would end up cropping quite a bit off the sides of the stretched image in post to maintain your 2.35:1 ratio or whatever you might be shooting for. Which this would be a good argument for having various record modes like 2880x2304 (instead of the full 4096x2304) in order to not record that extra info that will just be thrown away in a 2.35:1 presentation. Thus allowing for longer record times vs. using the full 4K frame and/or potentially higher frame rates than if we were shooting the full 4K frame.

OTOH, the 1.34X anamorphic approach would allow for use of the full 4K frame (without cropping the sides) to stretch in post to a 2.35:1 aspect. And David's suggestions of the 1.34X for this reason as well as potentially being easier and cheaper to manufacture, still providing some of the classic anamorphic look and filling an open niche in the market are all great reasons. So, while I was kinda hung up on the 2X anamorphics before, the 1.34X anamorphics do make a lot of sense when considering RED.

 

[Brook Willard]

Alrighty.

Please get simultaneous outputs enabled yesterday.
Please get us our EVFs.
Please kill the sensor protect and its flare.
Please kill the moiré/OLPF flare [fixed by the new OLPF?]

Those are all givens, but one can't help but poke and prod at them as much as possible.

Moving on...

A larger LCD would be awesome. A 720p [or 1280x848 to match the EVF] panel that is as daylight viewable as the LCD but in the 7-8" range. It should, obviously, use the same port as the LCD currently.

Make the LCDs out of metal.

Put some 3/8-16 holes on the accessories. So far I can only find one on the universal brackets. These suckers should be *everywhere*. We can always adapt down to 1/4-20, but we can never scale up to 3/8-16. Film goodies generally use 3/8-16 screws instead of 1/4-20.

Give me a witness mark on the body.

Put a focus hook *on top* of the top handle. Putting a screw in there is pretty close to the focal plane, but not close enough for taping out lenses.

Make some button lock key combination or recess the buttons.

Make a sleep mode so I don't have to power down for a battery swap [though I'm liking the improved boot time in build 11].

Let me customize the "1" and "2" user buttons. I don't need a white balance button on a RAW camera... I need access to my exposure tools.

I'd love a 1:1 pixel zoom. The 2x zoom is a great start, but there should be a second level of zoom available... particularly if we're checking collimation.

Make condoms for the accessory ports so I don't have to tape them up.

Seal the body innards a little better if possible. If I feel air blowing out of the CF module, I'm guessing that means that there is some direct access from the CF module opening to the camera innards to the cooling area on the bottom of the body.

Make me a Sharp Max that doesn't cost half as much as the camera.

Make your V-mounts out of metal [aka IDX] instead of plastic so they don't break as easily.

Get in touch with Anton Bauer to create an intelligent AB solution that'll communicate with the camera.

Build some XLR power cables so we don't have to.

Put some sort of fuse/protection in the camera so when the XLR cable isn't wired properly, the camera doesn't explode.

Keep the 4-pin LEMOs and the 232 LEMOs in stock so I don't have to order them from a third party that'll take a month.

Swap the "Temp OK" indicator out for a temperature gauge of some kind.

Get the lens mount contacts sorted out so they don't keep getting destroyed. The port cap needs to have some cutout so it doesn't constantly apply pressure to them.

Make the rollout indicator look slightly less apocalyptic.

Work some magic voodoo on how the compression reacts to the blue channel noise. Increase the data rate.

Give some indicator of when the histogram/zebras/false color/stoplight is referencing the current ASA vs. what the sensor is actually seeing.

Make the histogram/zebras/stoplight reference a higher resolution than they currently reference if it's technically possible.

Work some magic on the CF module so putting a CF in doesn't occasionally kill the camera.

Add some friction surface to the handheld grips so they don't rotate around whatever rod or mount they're mounted to. Translation: rosettes!

Find a way [if technically possible] to make footage readable if a proper end-of-clip isn't written to the file. That is, if the camera was rolling and it suddenly lost power, lost communication with the CF or was literally destroyed by an explosion, the footage would still be readable up to that point.

See if you can't add a "time remaining" meter to the battery status indicator on the camera. I know how long the camera lasts with the accessories I have now, but when we have it running with the EVF, LCD, FIZ, CineTape, etc... I just won't know. A vague approximation of the remaining time would help.

Get rid of that red bar across the screen with the focus assist enabled. You can indicate its position with subtle icons outside of the recording area, but nobody can operate the camera with that big red stripe in the way.

Get the LUT thing up to speed.

Here's my dream: a clean, pretty output in the EVF for the operator [similar to what we get out of the HD-SDI Preview output today]. Simultaneously, I'd love a feature-loaded assistant cameraman's screen on the LCD. Show all of the important camera information [what's currently on the LCD plus a few other goodies... customizable] plus a live feed of what the camera is currently seeing... independently zoomable and aimable. Keep the preview output looking how it's looking, with a simultaneous 4:2:2 or 4:4:4 clean [no look-around] output from the appropriate ports. All of this magic happening at once... holy crap. It'd blow me away.

But in the short term... just get multiple outputs enabled. But aim high.

It's a long list, but I'm sure I've still forgotten a few things. I don't want it to sound like these requests are criticisms... what you guys have done so far is remarkable. I just can't help but wanting more.

I'm sure I'll think of more ideas as time goes on.

 

[Gavin Greenwalt]

Find a way [if technically possible] to make footage readable if a proper end-of-clip isn't written to the file. That is, if the camera was rolling and it suddenly lost power, lost communication with the CF or was literally destroyed by an explosion, the footage would still be readable up to that point.

If you haven't broken 2GB yet... that's easy. In fact this python script:
http://www.reduser.net/forum/showpost.php?p=121383&postcount=47

will do it if you know the end frame #. If not just go into the r3d file with a hex editor and trim back to the end of the last frame (search for REDV and back up 4 bytes).

 

[I Bloom]

Read the whole thread: Here are the highlights for me:

Big Lebowski: Histogram and false color indicators based on actual RAW instead of manipulated RGB preview data.
Blair: Battery mounts get sloppy with use
Also experiencing this.
Blair: False color rocks, could you assign side button #1 to false color toggle
This is so important, please make white balance a menu thing, I can't tell you how many times we;'ve accidentally hit it and messed up our tint.
Blair:Focus assist GUI refinement
Or just an explanation of how to really read it.
AKABAKA:I'd love to see REDCINE support Magic Bullet Looks natively.
How about Natress Effects.
Isaacbabcock: Sleep function...reduces the need for a short boot-up time.
This is genius: do you realize that every time you swap a battery on Red it takes a full minute for the camera to come back up.
manuelwenger:Would be great to have a "overlay" function for match cut composing, matching angles,...
Just a single frame you can grab during any playback flip to at any time during recording.
Jeff Kilgroe: Anamorphic stuff.
IMHO, we really need just to be able to unsqueeze anamorphic images into the EVF or LCD while shooting.

 

[Casey Green]

hehehe - Jim, you knew you'd get this response, right?

 

[Brook Willard]

If you haven't broken 2GB yet... that's easy. In fact this python script:
http://www.reduser.net/forum/showpost.php?p=121383&postcount=47

will do it if you know the end frame #. If not just go into the r3d file with a hex editor and trim back to the end of the last frame (search for REDV and back up 4 bytes).

Noted. I may record a clip and pull the CF or power in the middle of a take to see if the R3D file is saved. Then I'll send it to you to see if you can save it.

Lets keep the discussion over there though, this is a good thread and I don't want to lead it astray.

 

[Gavin Greenwalt]

12) Ability to output un-balanced RGB Tiffs/EXRs/TGAs with no white balance or gain or anything like Viper Filmstream.

 

[Kip Hewitt]

Alrighty.

Please get simultaneous outputs enabled yesterday.
Please get us our EVFs.
Please kill the sensor protect and its flare.
Please kill the moiré/OLPF flare [fixed by the new OLPF?]

Those are all givens, but one can't help but poke and prod at them as much as possible.

Moving on...

A larger LCD would be awesome. A 720p [or 1280x848 to match the EVF] panel that is as daylight viewable as the LCD but in the 7-8" range. It should, obviously, use the same port as the LCD currently.

Make the LCDs out of metal.

Put some 3/8-16 holes on the accessories. So far I can only find one on the universal brackets. These suckers should be *everywhere*. We can always adapt down to 1/4-20, but we can never scale up to 3/8-16. Film goodies generally use 3/8-16 screws instead of 1/4-20.

Give me a witness mark on the body.

Put a focus hook *on top* of the top handle. Putting a screw in there is pretty close to the focal plane, but not close enough for taping out lenses.

Make some button lock key combination or recess the buttons.

Make a sleep mode so I don't have to power down for a battery swap [though I'm liking the improved boot time in build 11].

Let me customize the "1" and "2" user buttons. I don't need a white balance button on a RAW camera... I need access to my exposure tools.

I'd love a 1:1 pixel zoom. The 2x zoom is a great start, but there should be a second level of zoom available... particularly if we're checking collimation.

Make condoms for the accessory ports so I don't have to tape them up.

Seal the body innards a little better if possible. If I feel air blowing out of the CF module, I'm guessing that means that there is some direct access from the CF module opening to the camera innards to the cooling area on the bottom of the body.

Make me a Sharp Max that doesn't cost half as much as the camera.

Make your V-mounts out of metal [aka IDX] instead of plastic so they don't break as easily.

Get in touch with Anton Bauer to create an intelligent AB solution that'll communicate with the camera.

Build some XLR power cables so we don't have to.

Put some sort of fuse/protection in the camera so when the XLR cable isn't wired properly, the camera doesn't explode.

Keep the 4-pin LEMOs and the 232 LEMOs in stock so I don't have to order them from a third party that'll take a month.

Swap the "Temp OK" indicator out for a temperature gauge of some kind.

Get the lens mount contacts sorted out so they don't keep getting destroyed. The port cap needs to have some cutout so it doesn't constantly apply pressure to them.

Make the rollout indicator look slightly less apocalyptic.

Work some magic voodoo on how the compression reacts to the blue channel noise. Increase the data rate.

Give some indicator of when the histogram/zebras/false color/stoplight is referencing the current ASA vs. what the sensor is actually seeing.

Make the histogram/zebras/stoplight reference a higher resolution than they currently reference if it's technically possible.

Work some magic on the CF module so putting a CF in doesn't occasionally kill the camera.

Add some friction surface to the handheld grips so they don't rotate around whatever rod or mount they're mounted to. Translation: rosettes!

Find a way [if technically possible] to make footage readable if a proper end-of-clip isn't written to the file. That is, if the camera was rolling and it suddenly lost power, lost communication with the CF or was literally destroyed by an explosion, the footage would still be readable up to that point.

See if you can't add a "time remaining" meter to the battery status indicator on the camera. I know how long the camera lasts with the accessories I have now, but when we have it running with the EVF, LCD, FIZ, CineTape, etc... I just won't know. A vague approximation of the remaining time would help.

Get rid of that red bar across the screen with the focus assist enabled. You can indicate its position with subtle icons outside of the recording area, but nobody can operate the camera with that big red stripe in the way.

Get the LUT thing up to speed.

Here's my dream: a clean, pretty output in the EVF for the operator [similar to what we get out of the HD-SDI Preview output today]. Simultaneously, I'd love a feature-loaded assistant cameraman's screen on the LCD. Show all of the important camera information [what's currently on the LCD plus a few other goodies... customizable] plus a live feed of what the camera is currently seeing... independently zoomable and aimable. Keep the preview output looking how it's looking, with a simultaneous 4:2:2 or 4:4:4 clean [no look-around] output from the appropriate ports. All of this magic happening at once... holy crap. It'd blow me away.

But in the short term... just get multiple outputs enabled. But aim high.

It's a long list, but I'm sure I've still forgotten a few things. I don't want it to sound like these requests are criticisms... what you guys have done so far is remarkable. I just can't help but wanting more.

I'm sure I'll think of more ideas as time goes on.

It's perfect, Brook.

 

[Häakon]

Fantastic topic. There have been a lot of great suggestions; I'll echo ones I personally feel most passionately about for reinforcement.

Improvements I would still like to see:

• Larger LCD with the same pixel density as the current one, giving us both a bigger screen and more resolution. It's pointless to increase the screen size but keep the resolution the same. I would prefer it NOT be made of metal; the lightweight form factor it currently boasts is really a refreshing change and has proven to be very durable.
  
• Simultaneous outputs enabled.
  
• More stable firmware (currently still experiencing CF crashes/corruption, slow playback response, temperature issues).
  
• Higher frame rates at 4K.
  
• Sleep function.
  
• Custom frame guide overlays from a grayscale tiff.
  
• 50-150mm lens availability.
  
• Witness mark on the body.
  
• Customizable "1" and "2" user buttons.
  
• 1:1 pixel zoom.

aaaand... I'm probably the only one here who really couldn't care less about RED anamorphics... :tongue:

 

[Brook Willard]

Häakon, the prototype metal LCD case at NAB didn't add any significant weight to the design... but it added a ton of rigidity. I'd love to get one of those older LCDs in my hands to see how my memory is.

 

[Mark L. Pederson]

I just want the COMIC SANS font changed on the camera menu and I'm all good.