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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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I know RED has priorities up the wazoo! This is a few AC / Dp needs

- I would like rubber gaskets for extra durability much like a Canon 1DS. With the fans constantly in motion internal dust,salt,grit would build up quickly. Jungle like condition comes to mind. Cam tape only works so much.

- A USB2 Wifi remote funtion control for accessing in-camera frame ramps, shutter, start/stop, focus assist, etc. 3 inch monitor ouput.

- Low Jack or similar system built in.

- Better weight distribution and operator ergonomics.

- IR capability for night-time photography, think Planet Earth.

- LUT monitor calibration for client, CF card downloadable. I hve lots of Agency work.

- SSD RED Drive before April. Imagine if the HDD footage gets in an accident or wet.

- smoother lens mechanics please

These are just my observations as in one way or another I have directly needed these functions from the film/HD equipment I've used.
 
Brook Willard said:
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.
Click to expand...
If the screen can be made as thin as it currently is, metal wouldn't bother me too much. I just hate those 8" Panasonics that are two inches deep and weigh five pounds. I also think that we should be able to use the same LCD screen (just a larger cut) to give us higher resolutions at the same pixel density. There's not much sense in making a 10" 720p monitor when we already have a 5" one.
 
Agreed. Based on the board inside the LCD and the core thickness, I don't see why it wouldn't be possible to make a 7 or 8" 720p monitor. The current monitor is a little below 720p [600p, if you will], so a 7 or 8" 720p monitor would make my day. The board inside the LCD shouldn't need to be any larger as it's just a little DVI display. Having looked at VertexLCD's other offerings [they make the RED LCD core], something of the same profile should be possible as far as I can tell...
 
I want to take five to six REDs on location to shoot LIVE multi-camera in a studio-setup to capture multiple changing speakers on a stage, microphones being passed to people standing up in a large audience of say 400-500. Plus random roaming RED Producer/Shooters talking to the director, feeding their take back live as they wander around finding interesting shots and doing remotes with their Talent partner.

These conferences typically run 12 to 15 hours a day for three to four days.

All the stuff we're currently missing in order to do that... I'd like that please.

(I don't have a specific conference in mind; this is just the kind of live event I've directed in the past, but with Sony equipment. In the future, I'd like to shoot these with RED. *smiles sweetly*)
 
Please:

-Adobe Premiere (PC) support; I realize this is largely up to them, but I suspect you can be very convincing.
-I want that TIVO like thing, where it's always recording and overwriting itself; then, when you hit RECORD, it's actually captured everything from about 30 seconds before
-at my current financial situation, I'll only be renting the RED ONE for larger projects. But I would definitely get a RED MINI. C-mount has been discussed as one option. Or what if we just choose a Nikon-mount or Canon-mount version when we order, and attach the lenses we already have right to the camera? While we're at it, how about a 22MP RED DSLR? Just for stills.
-I want the prospect of actually working and finishing in 4k to be a fairly easy option. Right now, everyone is saying shoot 4k, but post 2k.
-weatherproofing. It doesn't need to go underwater, but I should be OK if it starts raining or if I'm shooting a documentary and it starts to mist.
-accessories that are far more affordable than what is out there right now. I'm not paying $8,000 for a tripod. Also, dollies, jib arms, pan-tilt-heads, etc... All of these things can be made cheaper, especially considering how light the RED is.
-A very small battery, to make handheld shots easier. Even if it only lasts 20 minutes per charge, something like a Sony HandyCam battery could make life easier in certain situations.
-Secondary color correction in REDCINE. I realize it's not a "finishing" application, but this would be a huge help. Lightroom is the ultimate benchmark.
-I want there to be a RED TWO, that way there can be a "RED 3-D" in a few years. Same size body, with twin lenses.

Thanks for reading!!!
 
Brook your list was very very good.

I hope red goes through it with a fine tooth comb.
 
Jeff Kilgroe said:
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.
Click to expand...
I'm in with this. 1.34x anamorphics would be welcome, but I would still personally like to have a 4:3 recording mode available using the windowed center of the sensor. (I don't know software development, but I would assume this would be "easier" than building a brand new lens.)

I would really like the option of shooting with 2x anamorphics without having to throw away data to the left and right -- I'd prefer to just not record that data at all. Presumably this would, as Jeff mentioned, add to record times and potentially allow for cranking up the available framerates since it's not engaging the full sensor.
 
Nearly everything I missed at Red One has been said.
two things left:

1. Increase your qualitycontrol. Have seen and heard a lot of bugs and issues which could have been solved only by more precisely checking hardware before shipping. Be sure that all cameras and accessorys leaving red for shipping are in same condition.

2. I would like to have an auxiliary camhead like on si2k.
I know you guys are terribly busy. It´s not for now, but I would like to see you will have it in mind.
 
Jeff Kilgroe said:
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.[/B]
Click to expand...

I agree. I would love to shoot on the "old" anamorphics for one more reason that hasn't been mentioned yet, coating. The slightly older lenses has a worn out coating that will make them individually nice and flare better. One big reason for shooting anamorphic is the flares.

I would love for you guys to have a already de-squeezed possibility in the video output for monitoring anamorphic. I'm not saying that the software should actually de-squeeze the footage that we easily can do in REDCine. No I mean in the actually monitoring on set. it would be easier if it exists in the camera software then having some electronic device doing the job.

Jeff Kilgroe said:
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.
Click to expand...

I would love for you guys to make anamorphic's but I do feel that they would be "babies" since they wouldn't be the same thing. They wouldn't have the same flares etc.

I love shooting anamorphic and do so every chance I get.
So my strong wish is for you guys to help me shoot 2:1 anamorphics on the RED with monitoring and that you make some baby anamorphics for us as well.


Thanks for listening,


fred
 
one big issue for me is, that the apple post workflow support full REDCODE 12 bit editing / finishing... specially at color.... with the apple platform is finishing only in 10bit possible at the moment...
a breakoutbox for the mini-connectors and power outlets.... to mount it on the cam individual...
a wireless handheld control unit for the cam inclusive picture and audio monitoring...
improving redcine... XML import, etc.

regards
rainer
 
Talking about the futur, and the noise issue in lowlight condition is the thing who worried me the most. I can't wait for a positive report.
Brice
 
I stopped saying what I wanted on the camera a while ago to not being so annoying on a project that´s already complex. I don´t have the camera yet so I cannot tell you what´s not working but I can tell you what I´m still wishing (it´s gonna be annoying...)

- Higher FPS at 2K scaled from full sensor.
- Speed ramps.
- Remote programmable controller for speed ramps (wired or wireless).
- Extender viewfinder (the empty tube with the cables inside would be perfect)
- A long lasting brick battery or an adapter to use the film ones, not everything is shoulder mount and in my experience with HD, small batteries should be only for handheld, steadycam and cranes shots.
- Start/stop switch on the right handgrip.
 
Additions to RED one as well as new RED hardware.

1/ Remote head RED with fiber link to body. Cage system for lens and camera to allow easy rigging of front heavy camera and lens.

2/ Mini RED with CF that records uncompressed (to keep camera mass down?) for use in stunts. Industrial cams incorporate a G meter to activate recording. Only needs to record min 60 seconds uncompressed.


3/ Baby RED with 35mm size sensor in EX1 form factor with integrated 5x zoom, power zoom, manual focus.
Could do away with some features (HDSDI outputs) to keep it small.

4/ 14 to 17 inch monitor 1920x1080 pixels. Include 3D viewing option.

5/ RED one simultaneous recording via two CF card slots.

6/ RED one Simultaneous recording using CF and SATA.

7/ RED one File exchange between CF and SATA

8/ RED one User variable scaling frame rate, let us decide what res is and isn't acceptable at particular frame rates.

9/ CAC chromatic aberration compensation when using 2/3 inch lenses

10/ RED one vertical filter slot in front of sensor, for ND or CC filter. May be possible to squeeze 2 ND and clear on one 2 x 4 inch slide. This could also be the IR filter.
and/or some other way of reducing sensitivity.

11/ Factory controlled calibrated test 4k frame/s in camera to aid monitor set-up and QA trouble shooting.

12/ Video village Fiber link with HDMI HDSDI audio time code ect in/out. Breakout box for same.

13/ RED player, a la Panasonic P2 player but with push button activation of user installable LUTs. High quality screen with 1:1 Basic VTR controls. NO erase function!

14/ RED TV portable recorder
Compact CF recorder with with HDSDI input and conversion to RED codec.
10 bit recording of 4:2:2 or 4:4:4
Allows recording of any HDSDI signal. ie use of HDSDI output from EX1, Z7 F900R or 60p output from HDC 1500 F23 or Genesis or 4:4:4 too.
A replacement for the SRW1 (for short form work at least)
Easy integration into RED workflow, easy for producers to understand.
or licence RED codec to the guys already building a CF recorder that has XDCAM HD codec.


15/ RED TV compact camcorder. A 3K 16mm size single sensor sampled to 1920 x1080. 16x lens.
EX1 or better form factor with RED2k /HDSDI recording.

16/ Option slot.
ie for a GPS tracker. These assemblies are down to $100 and now have integration to Google maps. Size of a pack of gum. They could automatically download their file to CF before ejection of the CF or at the end of the clip. Current trackers use USB.


17/ GPS read and search integrated into edit software. No one is doing this.

18/ Rate sensors built into camera for roll, az and el recorded as meta data that also can be read by edit or sfx software to stabilise hand held and other uses.


19/ RED one Mechanical contact to enable integration with numerous remote systems.


20/ Remote menue operation that is expandable to operate or control user configurable accessory ports.


21/ 8K sensor for Imax.


22/ Self resetting fuse to protect against reverse polarity or spikes.
Over current protection for accessory DC outputs if it doesn't already have it?


23/ The menue display and operation at the rear of the camera is a novel position with a battery behind it. Duplicate it on left or right hand side.



Familiar ideas list.. just gets longer!





Mike Brennan
 
David Mullen ASC said:
You mean a 4K display in your editing suite after you've converted the RAW footage through REDCODE? Or an on-set live de-Bayered 4K image? Because there isn't much need for live display resolutions on set to exceed 1080P. I'm trying to think of a practical reason for looking at a live 4K image. Maybe catching a dead pixel, that's the only one I can think of.
Click to expand...

The former. I would like to see my finished work in 4k. So far I've never seen any Red footage displayed in 4k. Its always been some low res compressed version. Only the frame grabs give a hint. So I would like a 4k Display ASAP.
 
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