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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 :)

Someone ask for Rec Start/Stop?

Another thing to consider:

Of all the pins on that LEMO, this cable shouldn't use more than 3 or 4 of 'em. As such, the cable should be quite flexible.

If the cable was coiled... it'd rock my world.
 
Brook Willard said:
Does it beep? That would rule...
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Matt Uhry said:
Beeping would be great. even if some other run button was pressed. long beep for roll and 2 quick ones for cut ? Like how you do the bell on a soundstage.

Matt Uhry
www.mattuhry.com
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CVB said:
Thanks Darren... does that mean I get a gold star now?
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You get that MO-FO to beep in the manner that Matt suggests and not only will I find a way to mount it to my camera 24/7 but I will get to you a black pair of speedo's with a big gold star on the crotch!
 
Lol... Thanks Darren, I look forward to it. The beeping thing that Matt wants is really, really easy. Yes, I typed really twice.

BTW, how loud would you guys want it to be (in dBa)? If I need to use a huge piezo it may be tricky to fit in the package size I rendered.
 
CVB said:
Lol... Thanks Darren, I look forward to it. The beeping thing that Matt wants is really, really easy. Yes, I typed really twice.

BTW, how loud would you guys want it to be (in dBa)? If I need to use a huge piezo it may be tricky to fit in the package size I rendered.
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Easy to have a volume control? I have no db level idea? I could make a beep sound level with my voice if you were here.

By the way the gold star will be really, really shiny!
 
In my experience, it is great to be able to hear the 'camera is rolling' beep from a maximum of 30-40 feet away. That could put the focus puller near the base of a long Technocrane, which would be about as far away as they would ever want to be. A second type of beep for 'camera has cut' is nice too.
 
60-70 dB is possible... As you probably know, that level depends on the distance where its measured from. If it needs to be that loud at 30 feet away then the actual level may be closer to 80-90 dB. The units I'm using require a custom amplifier circuit so making it adjustable may not be too difficult... probably just need to add a potentiometer in series on one of the piezo leads.
 
I was looking into the prospect of having the button setup to do both the single frame record as well as continuous recording and I think the easiest solution is to just move the plug to aux1 or aux2 to get whatever functionality you want... otherwise the button will suck up both of your auxiliary connectors. Thoughts?
 
CVB said:
I was looking into the prospect of having the button setup to do both the single frame record as well as continuous recording and I think the easiest solution is to just move the plug to aux1 or aux2 to get whatever functionality you want... otherwise the button will suck up both of your auxiliary connectors. Thoughts?
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But how will you roll the camera when it's on a crane and you also need ramping? As far as I know aux2 is for either single frame or ramping trigger.

Concerning the beep volume: this should be adjustable by all means. Sound volume is always relative to the environment. Being in a small room on location doesn't need a loud beep which scares the talent. Being on the street with all the traffic noise is quite a different situation.

The beep volume knob could as well snap to an "off" position. So you save the additional on/off switch.

Just my 5 cents...
 
Regarding ramping: In 1995 I was very excited when I was one of the first people in Canada to get to use the new Arri 435 camera camera on a job (Marilyn Manson "The Beautiful People" music video). We ramped like crazy. Ramp, ramp, ramp and ramp some more.

After a few, maybe six months, of very rampy jobs, we didn't ramp so much.

Now, I haven't done an in-camera ramp in 5 years.

WHY?!? Because ramps are better done in post. It turns out that every director who loved those ramps in 1995 eventually got burned by badly-timed, unfixable-in-post, in-camera ramps! After that happens just once, people realize that all you need to do is shoot everything at the highest speed you will need and you can add the perfectly timed ramps in later, when you have complete control.

Let me say that more clearly: In-camera ramping is dead. Done. Unneeded. Unnecessary.

The last ramp I did, back in 2003, was only because the job was theatrical with no post budget and could only use whatever effects they could do on film. Red shoots, whether for TV or theatrical will obviously not be finished with a neg cut and optical print. In that case there is no reason to lock yourself into ramps in camera.

I had this same conversation with someone from Arri a few years ago when they were all excited about some new ramping box. His response (imagine a heavy German accent) was "You mean people don't ramp anymore? But vee vorked zo hard on zis box!"

The only possible use I can imagine for true in-camera ramps these days are ones where you ramp the shutter and iris (not speed). You can take a shot with near-infinite depth of field and close it up so the background totally disappears. Michael Ballhaus is the master of this (see "The Age of Innocence") but no one else is really using the technique, and it requires a camera that can alter the shutter angle during a shot and talk to an external box controlling iris. Not the current Red One (as of build 14).

Ramping is a nice feature on paper but not so practical in the reel world.
 
Yes, Crewpix. I too saw this trend go out with the bath water. Perfect and easy in post.
Cheers,
Harry
 
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