RED WEAPON - Info and Data Sheets

[Mattias Åkerlind]

Agreed. The size constraints had crossed my mind, perhaps limiting what it can output from the brain. As I stated earlier, the Weapon is obviously the superior camera. I would much rather have a Dragon sensor equipped camera that only has 1080p video outputs than a lesser camera that outputs 4k to the monitor. In a best case scenario, there would be an economical way to add a 4k video out to the REDs. In the end, it's just a minor complaint, as it's not even close to a deal-breaker for me.

IF the Weapon CF can do ProRes in 4K (as indicated by Apple) then it MUST also be capable of 4K monitoring. No extra hardware needed besides a HDMI 2.0 transmitter.

 

[Antony Newman]

4k Prores requirements is a different Use case than 4k Monitoring.

If the latency of the image increased by 4 times to get a 4k monitoring image out (assuming that the hardware could support this) - it might be deemed unnacceptable by Red.

If Reds own screens and EVF don't support 4K - there might be an overhead with processing a separate screen channel for monitoring that could eat up too much RAM or system bandwidth.

AJ

 

[Mattias Åkerlind]

4k Prores requirements is a different Use case than 4k Monitoring.

If the latency of the image increased by 4 times to get a 4k monitoring image out (assuming that the hardware could support this) - it might be deemed unnacceptable by Red.

If Reds own screens and EVF don't support 4K - there might be an overhead with processing a separate screen channel for monitoring that could eat up too much RAM or system bandwidth.

AJ

There is no reason at all for more than 1-2 frame latency when doing real time debayering and scaling in hardware (ASIC).

Actually, a lot more processing power + system/RAM-bandwidth is needed to do 4K ProRes compression. So IF it's possible to do 4K ProRes it should be very possible to just skip the compression stage and output the in-memory image to a HDMI/SDI transmitter.

I personally think it's very strange for a $50K, 6K/8K camera system to not support on-board 4K monitoring.

 

[Patrick Tresch]

Seems a bit ridiculous, seeing as how the $2,995 Ursa Mini can output 4K, but a $34,500 Weapon can't unless you add on a module that costs more than two of those Ursa Minis.

Now, don't get me wrong. The Weapon is a much better camera than an Ursa, but seeing as how RED has always pushed 4K over the years, I find it ironic that they don't offer a way to monitor in 4K when the competition is doing it at far lower price points.

A7s / 2500$ / 490gr / also does QuadHD on HDMI out.

 

[Phil Holland]

Updated with a bit of Image Circle and Lens Coverage information today:



RED's done a pretty nice job with the FAQs that are online now, so I'll slowly start making this more "practical use" info as we are getting closer and closer to Weapon's release.

Got another special thing I've been working on I'll be uploading this week as well. It explains this whole 2K, 4K, 8K thing better

 

[NOSA OBAYIUWANA]

Nice one Phil.... thanks

 

[Eric Z]

Thanks, Phil.
Always solid & useful info.

 

[Mikael Lubtchansky]

Thanks Phil.
Probably nitpicking for a mm and I guess it's a small rounding issue, but wouldn't 8K 2:1 be 40.96 x 20.48 mm instead of 20.47 (so it is truly a 2:1)

 

[Phil Holland]

Thanks Phil.
Probably nitpicking for a mm and I guess it's a small rounding issue, but wouldn't 8K 2:1 be 40.96 x 20.48 mm instead of 20.47 (so it is truly a 2:1)

Yep. Fixed that rounding error.

 

[Michael Tiemann]

Yep. Fixed that rounding error.

Phil,

Speaking of rounding errors, my internet research tells me that 3-perf is more like 14mm than 12mm. Could that be an error, too?

http://www.fdtimes.com/2011/05/04/focal-lengths-format-sizes/

The above link has 3-perf at 13.9mm, but there are film gates in ARRI's catalog that are both 13.9mm and 14mm, hence the suggestion of 14mm.

 

[Phil Holland]

Phil,

Speaking of rounding errors, my internet research tells me that 3-perf is more like 14mm than 12mm. Could that be an error, too?

http://www.fdtimes.com/2011/05/04/focal-lengths-format-sizes/

The above link has 3-perf at 13.9mm, but there are film gates in ARRI's catalog that are both 13.9mm and 14mm, hence the suggestion of 14mm.

It's 13.9mm. I had a typo. Fixed now.

 

[Phil Holland]

Thank you Nick.

Quick and informative update for those who have sound as part of their productions. I have been doing some random tests with Weapon.

Today's work went into TIMECODE.

I have been able to SYNC Timecode from:

- Ambient Recording
- Sound Devices
- Zaxcom
- Zoom F-8 Field Recorder

Here's a shot of the SYNC on the Zoom as it's the newest kid on the block:



While I haven't tested it, I'm pretty damn sure the Time Code Buddy system will work fine as well. Just don't have one here to test. Same with Denecke I imagine. I'll try to test that in the near future.

Testing iPad syncing later on as well.

Pleased as a pickle my Zaxcom MAXX and Zoom F-8 work flawlessly.


Something else that's useful.

Size and weight:




Here's RED Weapon Dragon MG with the REDVOLT XL Module and Base Expander which is just a hair shorter than RED Epic Dragon +1 Module and the RED Quickplate V-Lock.

You can certainly rig Weapon smaller than this and in this particular comparison the weight difference between Epic and Weapon bodies is actually pretty noticeable to me. Especially after fondling them for a week or so.


I've also been examining the Element Technica Weapon V-Lock Module:




Works fine with every RED Brick and 3rd party battery I've slung onto it so far. ET has made the V-Lock Release Button large and green, but it has a nice rim on it to avoid potential human error.

 

[PatrickFaith]

I've been flipping most of my vfx and DI workflow to 2048x1716 anamorphic prores 4444(this is supported in the 4444 spec and by nuke), man do I love that format. In many cases I'm getting a 10x total workflow increase on heavy vfx scenes, as a sugestion to people getting the weapon, would be nice to test if that anamorphic 4444 format is supported directly on the weapon please.

[edit ... through my testing the weapon does not carry forth the anamorphic ratio on prores, so outputs to prorez in square pixels that have been scaled from the anamorphic rectangle then scaled down to the smaller pixel width. this makes it pretty clean but a bigger file. Durring testing I prefer by far r3d on the anamorphics rather then prores]

 

[Josh Becker]

Phil, any word on if Scarlet-W will be able to record 2K ProRes (not simultaneous w/ RAW), like Weapon can? Just trying to make sure I know of any major functionality differences between the two cameras, aside from the obvious stuff like frame rates and resolution.

 

[Phil Holland]

Phil, any word on if Scarlet-W will be able to record 2K ProRes (not simultaneous w/ RAW), like Weapon can? Just trying to make sure I know of any major functionality differences between the two cameras, aside from the obvious stuff like frame rates and resolution.

I'm pretty sure one of the main features of all DSMC[SUP]2[/SUP] style RED cameras is the ability to record:

- REDCODE RAW
- ProRes
- Dual Record REDCODE RAW + ProRes

I can't imagine why it couln't just do ProRes straight like the other cameras.

Also, Jarred "hinted at" an additional codec being supported somewhat soon. I imagine this will be the same once that pops it's head up.

 

[Aaron michaels]

Does the weapon need the same fan settings or does it take longer for the fans to go into cooling made?

 

[Phil Holland]

Does the weapon need the same fan settings or does it take longer for the fans to go into cooling made?

What we know as "Fan Modes" are the same. I'm still using Adaptive for instance.

As for how Weapon runs, the camera is quicker to come up to operating temperature and significantly more quiet when rolling. There's been a pretty drastic change in the fan design, airflow direction, and ventilation system within the "brain" when comparing it to previous cameras to DSMC[SUP]2[/SUP]. No more front facing fans. Airflow pushes down and counters the effect of accelerated heat build up. Cooler and quieter camera. Additionally we are monitoring sensor temperature now.

 

[Josh Becker]

I'm pretty sure one of the main features of all DSMC[SUP]2[/SUP] style RED cameras is the ability to record:

- REDCODE RAW
- ProRes
- Dual Record REDCODE RAW + ProRes

I can't imagine why it couln't just do ProRes straight like the other cameras.

Also, Jarred "hinted at" an additional codec being supported somewhat soon. I imagine this will be the same once that pops it's head up.

Gotcha. I know the Scarlet-W is listed as only doing ProRes at 2K (unlike the Weapon, which of course does 4K), so I wasn't sure where the differences ended. Thanks, Phil!

 

[Stacey Spears]

unlike the Weapon, which of course does 4K

Only the CF Weapon does 4k. The Mg Weapon does 2k like Scarlet-W.

 

[Bob Gundu]

I've tested Tentacle Sync on Weapon and it works great too.