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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 :)

Weapon Feature/Update Requests

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BrendanLeahy

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After reading numerous threads about questions/concerns/complaints about owners' Weapon cameras, I thought I'd start a thread where everyone could post *constructive* suggestions/requests for future firmware updates where possible.

I just received my W-Mg Wednesday, so have yet to put it through its paces. My only input at this time would be to bump up the scratch mics' audio.

Audio
1.) Increase internal mic sensitivity

Display/Monitor
1.) Reassignable monitor ports - use either top or operator side pogo simultaneously as HDMI
2.) Additional zoom options (2x, 4x, etc.)
3.) Option for 1:1 magnified feed via HDMI/SDI video port during recording

Recording
1.) Option for LUTs burned into ProRes
2.) ProRes clips in separate folder from R3Ds
 
Last edited:
Allow monitors to have more than just a 1:1 zoom. So allow 2x, and 4x zoom.
 
Luts burned to prores, prores clips in seperate folder
 
Option to get 1:1 magnified feed via *some* video port during recording. I need more help than the full-frame focus tools provide!
 
Jake Wilganowski said:
Luts burned to prores, prores clips in seperate folder
Click to expand...

Yes to option on LUTs being baked into ProRes.

Need to know more information in regards to having ProRes in a separate folder. In some ways, this might not make sense. In other ways, yes, sure it does.
 
With v6.2.55 released today, I wanted to check up and see if those that felt the internal mic sensitivty was too low (item #1 in the top list) was improved at all?
 
HDMI should be removed from every camera. Nothing stings like getting a $2700 bill from Red to replace a fried HDMI board that should've never been there in the first place.
 
As many have said, I'll say as well... Make monitor ports reassignable so that one can use either the top pogo or operator side pogo pins simultaneously as HDMI
 
1. An easy clear way to assign looks to independent monitor paths. DO away with Video Source and Look Config menu and only have Monitor Config to assign, color, gamma and LUT individually to each monitor path.

2. Prores records with LUT (option). Separate folder a plus.

3. Improved wifi. After a day with fool control on iPad and iPhone it's starting to feel like the REDMOTE in terms of reliability of camera to connect and stay on network. ugh.
 
Phil Holland said:
Yes to option on LUTs being baked into ProRes.

Need to know more information in regards to having ProRes in a separate folder. In some ways, this might not make sense. In other ways, yes, sure it does.
Click to expand...

From an editorial and DIT-perspective it makes very sense since R3Ds and Proxies should be made separate in post anyway. If a DIT or a wrangler put all R3Ds on one drive for dailies/grade/VFX etc. and all the ProRes files on another separate drive in order to give the assistant editor or editor so they can begin editing, it would make things easier if they were separate. I've tried doing the ".mov" search in finder on the cards, but that doesn't always work so I have to manually open and move the ProRes files. It also doesn't make sense if you are editing proxies and want to relink to original R3D files since having them mixed almost always confuse NLEs or other that it's actually the .mov files you want. Premiere is really bad in that regard, because it seem to do it random between original and proxy files.

Proxies and original files should always be kept separate. However, when shooting ONLY ProRes it might make sense, but maybe that should be an option in-camera "Put ProRes in Red folder structure -> Put ProRes in separate folder". I don't think that would be very hard to achieve in a future firmware update. This is probably even more important whenever we get MXFs which absolutely need to be in the same folder in order to work fast when putting them into an Avid structure.

The ProRes dividing itself up in smaller parts of a continuous shot is also something that needs to be looked at when it comes to MXFs, I'm not sure how that plays in Avid through the MXF folder structure.
 
Christoffer Glans said:
From an editorial and DIT-perspective it makes very sense since R3Ds and Proxies should be made separate in post anyway. If a DIT or a wrangler put all R3Ds on one drive for dailies/grade/VFX etc. and all the ProRes files on another separate drive in order to give the assistant editor or editor so they can begin editing, it would make things easier if they were separate. I've tried doing the ".mov" search in finder on the cards, but that doesn't always work so I have to manually open and move the ProRes files. It also doesn't make sense if you are editing proxies and want to relink to original R3D files since having them mixed almost always confuse NLEs or other that it's actually the .mov files you want. Premiere is really bad in that regard, because it seem to do it random between original and proxy files.

Proxies and original files should always be kept separate. However, when shooting ONLY ProRes it might make sense, but maybe that should be an option in-camera "Put ProRes in Red folder structure -> Put ProRes in separate folder". I don't think that would be very hard to achieve in a future firmware update. This is probably even more important whenever we get MXFs which absolutely need to be in the same folder in order to work fast when putting them into an Avid structure.

The ProRes dividing itself up in smaller parts of a continuous shot is also something that needs to be looked at when it comes to MXFs, I'm not sure how that plays in Avid through the MXF folder structure.
Click to expand...

For kicks, I made a script that sniffs the ProRes files and creates a duplicate file structure and moves them into a separate MOV main folder. Didn't take me more than 30 minutes. After I get back from NAB I might wrangle these tools into something more fun.
 
Phil Holland said:
For kicks, I made a script that sniffs the ProRes files and creates a duplicate file structure and moves them into a separate MOV main folder. Didn't take me more than 30 minutes. After I get back from NAB I might wrangle these tools into something more fun.
Click to expand...

While you're at it Phil, please make a tool to separate jpegs and raw camera files for still camera shooters ;-)
 
soren k jensen said:
While you're at it Phil, please make a tool to separate jpegs and raw camera files for still camera shooters ;-)
Click to expand...

These are often in the same directory so a simple sort by filetype in a file manager get you there...

This on the other hand is a totally different matter, MOVs are scattered inside a gazillion of folders...

I really think that MOVs should be written by the camera in a separate folder and all grouped together!

It's the best way in both cases! Not only when using ProRes as proxies, but also when shooting ProRes as masters!
 
Milan Spasic said:
+1

Wonderful software, let down by camera hardware.
Click to expand...

+1 I'm guessing most of us work in ad-hoc mode. I doubt this is something RED can improve much through software as I think the reliability issues are stemming from a WiFi antenna located inside the body which makes for a very weak signal. The WiFi capability is perfect in implementation - it's just a range issue. I don't think this is something RED needs to specifically focus on, they've opened up the capability and it works flawless within the range limitations, which I'm more than happy to accept and let them focus on other camera performance and ergonomic issues.

I'm hoping RT Latitude gets us some more rock solid Wifi performance. Likely see a lot of other innovations in this area too.
 
Milan Spasic said:
+1

Wonderful software, let down by camera hardware.
Click to expand...

ignition said:
+1 I'm guessing most of us work in ad-hoc mode. I doubt this is something RED can improve much through software as I think the reliability issues are stemming from a WiFi antenna located inside the body which makes for a very weak signal. The WiFi capability is perfect in implementation - it's just a range issue. I don't think this is something RED needs to specifically focus on, they've opened up the capability and it works flawless within the range limitations, which I'm more than happy to accept and let them focus on other camera performance and ergonomic issues.

I'm hoping RT Latitude gets us some more rock solid Wifi performance. Likely see a lot of other innovations in this area too.
Click to expand...

I brought my own access point router that stays on the monitor near camera and used infrastructure mode. The app on both iOS devices has no trouble connecting and staying connected to the access point. Seems like the camera is the problem in the link here. The fool control app is well done and when it is connected, very fast and responsive. The developer is very quick to answer tech questions via email. I also tried ad hoc mode which worked on and off. Neither method was reliable. The camera, iOs device and access point were always within 5-15 feet of each other and sometimes all right next to each other. I usually keep my monitor right next to camera and the iPad stays with it.

I don't want to have to buy an accessory to improve the functionality of what the camera has been advertised to have. This feature doesn't "just work" as we would like it to. It feels like the same disaster that the redmote was, which has a distinct reputation for being a paperweight. I am particularly disappointed because one of the main reasons I executed the upgrade was this wireless support (along with support for LUTs, of which the implementation is clunky).

I'm going to keep trying to use it...after all my opinion is based on a few hours of testing at home and one day of on set use. Maybe I need a beefier router? I've tried different channels. Maybe I'm doing something else wrong? I don't know. I hope I can get it to work with rock solid reliability. Anything less is not acceptable on set as a professional tool.
 
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