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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 :)

Turn off the TC in the EVF - here's why!

Here's a fun trick I noticed today: Press the brightness knob on the EVF to bring up the intensity menu... then press it again. All of the lower HUD will have turned black. The upper data will still be there, but it's a little bug that's a step in the right direction.

The good news? It means that it's possible to paint black in those spots instead of HUD.
 
Monitor outputs

Monitor outputs

I agree each output should have ANY combination of stuff, or nothing, and be user selectable. Just like in "pro" film and HD cameras.
Click to expand...

EPIC aside, can you illustrate an example of that on an available "pro" film or HD camera ?
 
Yes.
On my Panasonic HDX-900, I can make the outputs HD-SDI, SD-SDI, or SD-composite. I can show the menus, timecode, or a combination of those... or nothing, and just use the viewfinder to see menus. I can show the same frame lines as the viewfinder, or something different. I can make a user box that can be any rectangle aspect ratio I desire. Vertical or horizontal (product placement etc. benefits from this) I can show a 4x3 crop in SD from one output, and show the full 16:9 HD on another.
With an Arricam, I can show the same frame lines as the groundglass, or chose only one of the lines, or two different lines. I can mask off areas of the frame that we don't need the agency or client to see. The frame lines on the Arri system are infinitely adjustable. I can choose which camera status metric to show (operating voltage, footage shot, footage remaining, fps, shutter) on screen and position this text anywhere I want. I can tell the IVS how to process off-speed footage, so if I shoot at 4 fps, the video will show an approximation of the amount of shutter smear we can expect when we see the film.
The fact that NO ONE at Red thought this kind of control over the outputs was important, even when some of us were attempting to educate you guys, shows that it's important to listen all of the time. I know the Red Team is usually very good at this, but please. There are many of us on the forum who are working professionals, and who may have a point of view and REAL-WORLD experience from a wide range of production styles. David Mullen, Crewpix, Arrinik, Finner, Gibby, Mitch Gross, to name a few, have different but important real world experiences. The Red Team should listen to anything any seasoned professional has to say. Take it with a grain of salt, but if you hear 65 ACs and DPs asking for a feature, it's probably important. It will make the cameras better. Believe me.
Cheers,
Harry
 
Sorry. I realize the last post may sound like I'm a jerk.
I just think the Red missed the boat here, and it's too late to fix it.
But I don't care cause I'm getting an Epic! :)
Cheers,
Harry
 
harryclark said:
Sorry. I realize the last post may sound like I'm a jerk.
I just think the Red missed the boat here, and it's too late to fix it.
But I don't care cause I'm getting an Epic! :)
Cheers,
Harry
Click to expand...

Yeah Harry ... you did sound a bit like a jerk, but having met you - I can attest that you are not. (folks - he's really NOT a jerk).

I think it's good to "keep the pressure on" and tell Red what is important to you - that's what I try to do as much as possible.

I do think there is a LOT more we will see in the RED ONE prior to Epic and regardless, feedback like this can only help RED make choices for Epic.

Of course, stuff like this make you wonder about how far will RED go with hardware upgrades to the RED ONE? Will there be any board upgrades available - or only a sensor upgrade? Because if there was, for example, a $2000 board upgrade that would give me what I want in terms of HUD/overlay control - I'd pay that in a heartbeat.
 
Agreed Mark.
Thanks for vouching for me! ;)
Cheers,
Harry
 
I agree with the upgrades. I'd be willing to pay more to get some of the additional features that may prove to be difficult to implement with the current camera configuration. In the meantime, the camera will still be a workhorse, especially when build 16 comes along. I think with all that is learned from RED ONE and the real world feedback that has been collected, Epic will hopefully be THE camera.
 
Stuart English said:
EPIC aside, can you illustrate an example of that on an available "pro" film or HD camera ?
Click to expand...

My 10+ year old Sony DVW-790WS Digital Betacam can assign varying menu displays to each output individually.

btw, as an aside the camera still works on jobs everyday.
 
In our first week of testing with Red (about eight weeks ago???) we found that the timecode in the EFV was meaningless. It didn't match what we were jamming, or what came our in the RD3s. Once we realised that, half our problems were solved. There seems to be about a one second lag between what appears in the EFV timecode, and what's recorded in the RD3. Don't believe me? Test with a timecode slate. Even when using a Lockit box to jam, the in-camera timecode is adrift from what the sound-recordist took.
 
If it is impossible to make this user selectable TC happen for hardware reasons, is it at least possible to put TC and 'Varicam' flags in the VITC on the HD-SDI Preview/HD-SDI out? If yes, one could give scripty one of those new Panasonic 1760 monitors which apparently can read the TC off the VITC and embed it in the picture... OK, a $4000 monitor for Scripty is maybe not the cheapest alternative, but there are plenty of other tools out there that can read and display VITC from HD-SDI. Some of them significantly cheaper.

One a side note: With 'Varicam' flags in the HD-SDI out on 5000 RED One cameras you might eventually be able to find a few Motion Control rigs that will sync with the 720P signal coming out of the RED.... (I have yet to see a Motion Control rig that can sync to 23.98P over 720/59.94P... only 1080/23.98P(sF)...)
 
Timecode

Timecode

In our first week of testing with Red (about eight weeks ago???) we found that the timecode in the EFV was meaningless. It didn't match what we were jamming, or what came our in the RD3s. Once we realised that, half our problems were solved. There seems to be about a one second lag between what appears in the EFV timecode, and what's recorded in the RD3. Don't believe me? Test with a timecode slate. Even when using a Lockit box to jam, the in-camera timecode is adrift from what the sound-recordist took.
Click to expand...

That is not true. I have tested Build 15 and now 16 and both are in sync with an external slate. What was your test procedure?
 
Stuart English said:
That is not true. I have tested Build 15 and now 16 and both are in sync with an external slate. What was your test procedure?
Click to expand...

From memory, the timecode we output was all fine, but what was on screen on the EVF was a second out. We had two cameras, both with the same results, on the last two versions of Build 15. I'll check with our sound guy and let you know the full details. Our in-camera sound is, without a doubt, still slightly out of synch from the double-system sound, even though we jammed and had a Lockit box.
 
Any news?....

Any news?....

Stuart,

Has any progress been made in this department?

My camera is on a feature and the script supervisor is not happy.

I have read about the "alternative on board monitor/loop through" workaround for overlays. If anyone could chime in with other solutions/suggestions it would greatly appreciated.
 
I, too, agree with having no timecode or menu readout in the viewfinder. But isn't the lack of timecode etc. for video village only a problem with HDMI out? It does exist when using HD-SDI out, in my experience, right?
 
If this is not a big practical dilemma for RED then it would be a much appreciated feature. There are alot of confusion and wrongly logged script notes because off filenames etc being yelled across sets or just guessed instead of being correctly read from the monitor. And it makes a DIT's life much easier as this is the first thing crews notice and complain about when new to RED.
 
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