What’s next from RED now that Komodo is out?

[William Long]

.....My next goal for RED is to do drop the macho image/branding ("bomb squad", etc) so they can appeal to more women. As our sets and industry gets more democratized, this going to be an important step for RED. The larger the appeal, the larger the market....

Couldn't agree more with this. And a lot of people don't find the violent, macho, military imagery so appealing. It's not cool, it's not tough - especially in these times.

 

[Phil Holland]

With Komodo being the entry level camera into the RED ecosystem, my bigger question really towards 3 or 4 companies is what we are to expect in terms of the higher end cameras. I think some of those answers are clear, but others not so much.

I have my semi-secret-ish wish list, but I imagine with the way a lot of technology is advancing we'll have a pretty wild few years in the camera industry as we land on things we want, need, dislike, or adopt.

Autofocus is a good example of a dividing technology that is growing popularity throughout the industry. How and where it's done and deployed being some of the variables. Pixel based phase detection, lidar, etc.

 

[Timur Civan]

S35 4K camera that shoots 1-120 FPS like normal, and like the gemini with LowLight mode switches to 1-1000FPS to RAM buffer then encodes R3D down to Redmags. 512gig buffer would be great. about 7-8 seconds of 1000fps.

Should be Dual Native ISO. 800 / 5000 type deal. Can be ANY price. $100K is ok because there is no competitor other than the Phantom and thats who much it costs anyway.

But thats just me.

 

[Roberto Franco]

A module like the KOMODO LINK but with LIDAR and simple continuous autofocus on the centre of the frame is coming! I'm feeling it! I had this dream a few days ago! Am I right Jared?

 

[Luke Marcus Rosen]

A module like the KOMODO LINK but with LIDAR and simple continuous autofocus on the centre of the frame is coming! I'm feeling it! I had this dream a few days ago! Am I right Jared?

Think you're onto something.

DSMC3 wishes:
- Internal ND
- Faster boot up / menu navigation and tool implementation (I'm looking at you, Toggle Magnify!)
- Lidar capability for determining auto focus
- In camera, sensor stabilization
- All in one specs: dual iso across entire camera range, integrated modules (a la Ranger)
- 12 or 16K resolution, moar frame rates
- universal media solution (no more proprietary mags?)
- less data-heavy HDRx files allowing higher latitude photographing different exposure ranges
- removable sensor and lens mount to rig like a komodo but record like a monstro

 

[Les Hillis]

Dual sensors, 25+ stops DR...

Circular, auto-rotating sensor, with built-in sensor-level polarization and optional polarizing OLPF...

Square, manually rotating and tilt-shifting sensor, using the corners for pixel-accurate measurement of the rotation/shifting...

 

[Zack Birlew]

Ok, coming back to this, I can see that Sony threw an 8K grenade into the fight with the A1, even though it's expensive for a stills camera, for video pros, it's a steal as it has continuous 8K and Prores RAW to come if it's not already available. So, I had a thought again about RED's original beyond S35 plans and I think now that they have the sensor game going, they should aim BIG and go for 6x7 or 6x9 sized sensors and crop down to different format sizes with varying resolutions. For data rates, it may start out inverted from what we have now and we may only manage 4K at full 6x9 or 6x7, 6K for normal Medium Format, and 8K for FF, and 12K for S35 but that would enable a whole new kind of imagery and, more importantly, a whole new kind of camera. RED could also very well keep it simple and stick to 8K and just do a lower cost and more refined version of the W and maybe their own 12K or 16K model for the top end but also making room for a higher resolution Gemini-type camera for low light. It's all kinds of interesting at this point in the camera game and it appears that 8K is coming in faster and for a lot less money than the transition from HD to 4K was. With Sony's move with the A1 though, I think the used DSMC1 market is going to get crushed and it will probably eat some of the DSMC2 sales too and this is all before NAB and any news from Blackmagic in particular so 2021 is looking like quite a year for high resolution imagery!

 

[Javier Badet]

The new Epic MONSTRO

-6K Full Frame with 120 fps no crop.

 

[Christoffer Glans]

- Accurate per frame Z depth metadata at native resolution.
- Accurate camera tracking data
- 18 stops of actual usable DR
- Clean of noise at ISO800 8K
- Lighter camera body
- Accurate tracking autofocus

I don't consider DSMC3 to be necessary compared to the current lineup since Komodo has the best camera body of all of them and Monstro just rules when it comes to DR, resolution, and image quality. So why bother with a next-gen system if it's marginally better and the actual differences only get within diminishing returns.

A new system should have a functionality that push the industry forward. The first two points are the most important in my opinion. It would revolutionize any production using any kind of VFX. From simple removal of objects to adding 3D characters/objects. Imagine shooting without a greenscreen and just be able to directly comp elements into the shot right after shooting.

I've mentioned this numerous times around the forum, but resolution and stuff around the camera that has been the usual talking points past years are pretty irrelevant now. We don't need more resolution, we don't need more DR, we don't actually need "more color science" whatever that means, but we do need some innovation in the area of z depth and tracking, because it saves so much money and time that it would be ridicoulus not to use such a system on a production with lots of VFX. Even small indie productions could have major VFX shots for a fraction of the cost.

I won't buy into a new system before this happens, my Komodo is enough and renting a Monstro or Arri LF is enough for bigger shoots. I'm waiting for the camera that enables more in terms of storytelling, for less money. In my opinion, this is the new frontier of cameras that would actually revolutionize production. Combine it with Unreal's new real-time development for filmmakers and the possibilites are practically endless at no significant cost.