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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 :)

Size matters...

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Blair S. Paulsen said:
There has been talk of a B4 lens adapter for RedOne. S16 lenses are fine optically but the feature sets of modern video lenses are widely prized. The ability to use B4 mount lenses would speed adoption by broadcasters, AV cos. and others into hardline applications. I have even suggested what I call an "EFP pack" that would provide industry standard interfaces between the RedOne and hardline infrastructure. All of this may require 3rd party rigging but I agree with you - the price performance proposition will entice a much larger group than just the digital cinema crowd.
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Great idea Blair. It may be sacrilege to dumb down the Red but I'd be more than happy to take a 2K, B4 only Red with an onboard standard lens plug for servo power for HD ENG lenses. It would still be more than what is on offer today from current manufacturers.

To round out the current Red One I'm hoping for a Red prime set to be announced at NAB 07. Sign me up.
 
Rocketeer said:
It may be sacrilege to dumb down the Red but I'd be more than happy to take a 2K, B4 only Red with an onboard standard lens plug for servo power for HD ENG lenses.
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Pedantic technical point, but it would be 1080p not 2K with a B4 mount lens.

Martin
 
Martin said:
Pedantic technical point, but it would be 1080p not 2K with a B4 mount lens.

Martin
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I'll take 1080p up to 60fps and 720 @ 120fps at the 2/3" B4 spec.
I'm sure some would say you could 12 volt power an ENG lens servo with an offboard battery and adapter cable and use the the Red B4 lens adapter promised to get the same result.
 
You can power the B4 servo from an accessory power tap on the camera, no need to use a separate battery.

Martin
 
Stuart English recently posted that RED is considering not one, but two 12-volt auxiliary taps on RED One - plenty of power for any accessories, including the servos of a B4 2/3" HD ENG lens.

Last December, when I attended the first spec meeting for RED One at Oakley headquarters, I requested that RED One, beyond its normal digital cinema functions, also include capability for EFP and ENG-style production, including 12-volt power from the camera. I've been lobbying for those things to make the final spec ever since then. I already knew the camera would be a great tool for my cine-style productions, but I also wanted it to be versatile enough to satisfy my EFP-style production requirements.

Why? To me, one of the coolest things about RED One is the wide variety of Cine-style and EFP-style productions it will be able to be used on - thus generating a lot more revenue than a one-dimensional digital cinema camera.

We're artists, but motion media production is a business. As a businessman I want a tool that can generate the maximum amount of revenue. That's why I have supported RED from the very beginning - plus I really believe in the management and staff of RED.
 
As you're probably aware Gibby, most cameras have an AB tap near the front where the handle joins the body and a 12-volt hi-rose at the rear. The traditional use has been an onboard light or monitor from the AB tap and sound usually make use of the hi-rose for the radio link if not using batteries.

You can extend your 12-volt options by having an AB tap as part of your battery plate, V-lock or AB. Some batteries even include an onboard AB tap built into them.

My wish would be for one of the Red 12-volt taps to be close to where the lens would mount to allow the easy connection of a 2/3" HD ENG lens with a short adapter cable.
 
Rocketeer said:
My wish would be for one of the Red 12-volt taps to be close to where the lens would mount to allow the easy connection of a 2/3" HD ENG lens with a short adapter cable.
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That's my wish too, but if they've already engineered it being somewhere else on the camera, we'll just have to use a longer cable. At any rate, I'm way stoked that they are considering including the 12-volt taps.

On another note...we're looking forward to getting down to New Zealand and Australia sometime in 2007. It will be cool meeting you Rocketeer!
 
Enough accommodations are in place for that, you will be pleased Gibby! More on that later.
 
"More on that later..." there is a lot of teasing from the red Team going on at the moment. All quite exciting.

Martin
 
Gibby, Rocketeer,

I love where you guys are going with this. I never intended to use RED1 as an ENG tool but I just spent a day shooting at a rock climbing gym with a Panasonic AJ HDX 900 24P DVCPRO HD Camera, with me inverted, suspended at the top of the wall. The challenges of shooting in this environment with this size and weight of camera (I'm still recovering from harness stress LOL) truely lead to using versatile B4 style lenses with RED. I'm all for it as an alternate conversion (production can rent me Canon HD lenses). Climbing aside, it would also make for wicked 1080 underwater work if the lens controls could be wired to an external controller outside the underwater houseing.
 
with you on that...this will be the best outdoor and nature video camera eeeeever. i'll have 18mm for WA landscapes and 300mm for the birds and wildlife. and now this amazing portability.

and that's just the beginning! not to mention all the other amazing features...

this is the shizzzzz......
 
JDHolloway said:
Gibby, Rocketeer,

I love where you guys are going with this. I never intended to use RED1 as an ENG tool but I just spent a day shooting at a rock climbing gym with a Panasonic AJ HDX 900 24P DVCPRO HD Camera, with me inverted, suspended at the top of the wall. The challenges of shooting in this environment with this size and weight of camera (I'm still recovering from harness stress LOL) truely lead to using versatile B4 style lenses with RED. I'm all for it as an alternate conversion (production can rent me Canon HD lenses). Climbing aside, it would also make for wicked 1080 underwater work if the lens controls could be wired to an external controller outside the underwater houseing.
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My motives are purely selfish :)
Our inventory base is made up of HD ENG and Cine 2/3" B4 glass to go with the F900R and Varicams we carry. The majority of our client base are use to working EFP style.

Although we carry MB18's, Chrosziel, Microforce, Ronfords etc we are a Video only rental house. We'll see how the Red shakes down before making the substantial investment in 35mm lenses. For us, the best option is go B4 and Nikon mount and rent in 35mm lenses until the Red Zoom arrives and hopefully a set of Red primes!
 
Gibby said:
That's my wish too, but if they've already engineered it being somewhere else on the camera, we'll just have to use a longer cable. At any rate, I'm way stoked that they are considering including the 12-volt taps.

On another note...we're looking forward to getting down to New Zealand and Australia sometime in 2007. It will be cool meeting you Rocketeer!
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Due to the Red and the potential impact it will make on our business it looks like I'm doing Vegas. See you in April!
 
Rocketeer said:
Due to the Red and the potential impact it will make on our business it looks like I'm doing Vegas. See you in April!
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Very cool! See you at NAB in April, and in New Zealand before or after that.
 
planet e said:
with you on that...this will be the best outdoor and nature video camera eeeeever. i'll have 18mm for WA landscapes and 300mm for the birds and wildlife. and now this amazing portability.
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This is exactly what I'm thinking - those lens options too. Don't forget a good macro zoom there too (I'm just starting to research such beasts for 35mm). Gotta get in close to all those little critters.
 
I'm pretty sure the lenses designed for 3 chip cameras with prisms won't work with RED, hence, initially high quality s16mm zooms might be best. but if there is potential, they will build what is needed. I bet Canon will one of the first, they don't have a ultra high end market to protect.

Joe C.
 
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