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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 :)

Why not make CCD a sensor / module option for the DSMC?

Stephen Williams said:
http://en.wiktionary.org/wiki/hype
Promotion or advertisement; especially, exaggerated claims

A feature that can't be used by the purchaser of the camera?

Promotion Yes
exaggerated claims ?
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Actually, 4k at 60fps does get used in open gate mode to drive the evf at double rate.

Now how about the tons of other features we added at no charge since the first announcements? Do you have a wikipedia definition for that?
 
Deanan said:
Actually, 4k at 60fps does get used in open gate mode to drive the evf at double rate.

Now how about the tons of other features we added at no charge since the first announcements? Do you have a wikipedia definition for that?
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Hi Deanan,

Can I record the evf signal?

Many of the features added at no charge were in the original spec (Dual HD SDI anybody?). The camera was unfinished when released ( a Beta product ), even recent Build 20 release seemed to have problems & was even pulled by Red. Should people have paid for bug fixes? I don't think so.

Best,

Stephen
 
Stephen Williams said:
Being a working Pro rather than a Fan Boy I have a different perspective to many here. I like having a choice of equipment to use, but it's very important to know exactly what the limitations are on a daily basis. Being in the position to choose the best equipment for the job in hand is important.
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Uh huh, 3100 posts on a camera and company you clearly dislike and have no intention of ever owning or using by choice. That honestly says alot about how much free time you have to troll.
 
Stephen Williams said:
Hi Deanan,

Can I record the evf signal?

Many of the features added at no charge were in the original spec (Dual HD SDI anybody?). The camera was unfinished when released ( a Beta product ), even recent Build 20 release seemed to have problems & was even pulled by Red. Should people have paid for bug fixes? I don't think so.

Best,

Stephen
Click to expand...

stephen what you think about the R1 is well known, but what is your opinion on epic? or to stay in the present the R1 with MX?
 
Stephen Williams said:
Hi Deanan,

Can I record the evf signal?

Many of the features added at no charge were in the original spec (Dual HD SDI anybody?). The camera was unfinished when released ( a Beta product ), even recent Build 20 release seemed to have problems & was even pulled by Red. Should people have paid for bug fixes? I don't think so.

Best,

Stephen
Click to expand...

I think RED has been very honest about what they can and cannot do. I see no reason to nitpick here and there when they push the limits of what the camera can do. If no one was going to pony up for the raw port then that's a business decision that would be made just the same by arri, sony, etc.

AFAIK, the only camera with a 4k raw streaming data port was dalsa. Look where that got them.
 
Stephen Williams said:
Hi Deanan,

Can I record the evf signal?

Many of the features added at no charge were in the original spec (Dual HD SDI anybody?). The camera was unfinished when released ( a Beta product ), even recent Build 20 release seemed to have problems & was even pulled by Red. Should people have paid for bug fixes? I don't think so.

Best,

Stephen
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Stephen... you seem to be the only one complaining. None of our actual customers seems to feel "cheated". Quite the contrary if you read the posts. We have added a ton of capability since the announced specs... including 4.5K, 3K at 60fps, too much to mention. None of which was "sold" with the camera. Oh yeah... REDCODE 28 turns into REDCODE 42.

The R1 will do 4K at 60fps, but you need to have the RAW port. No one has ordered one... ever. I think if you shoot REDCODE, you'd NEVER want to shoot uncompressed. Apparently that is the case.

In person you seem like such a nice guy... not sure why you feel compelled to be disruptive here. You know all these answers.

Jim
 
Cüneyt Kaya said:
stephen what you think about the R1 is well known, but what is your opinion on epic? or to stay in the present the R1 with MX?
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MX is most impressive, would be happy to shoot with a camera with one installed.
 
Jannard said:
Stephen... you seem to be the only one complaining. None of our actual customers seems to feel "cheated". Quite the contrary if you read the posts. We have added a ton of capability since the announced specs... including 4.5K, 3K at 60fps, too much to mention. None of which was "sold" with the camera. Oh yeah... REDCODE 28 turns into REDCODE 42.

The R1 will do 4K at 60fps, but you need to have the RAW port. No one has ordered one... ever. I think if you shoot REDCODE, you'd NEVER want to shoot uncompressed. Apparently that is the case.

In person you seem like such a nice guy... not sure why you feel compelled to be disruptive here. You know all these answers.

Jim
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Hi Jim,

I was not complaining, I was answering a question.

Best,

Stephen
 
Stephen,

you sound frustrated all the time here.

Why?

I can't tell.

But can say that if you want to "play" a real PRO and you are in a need of digital high speed camera

why don't you rent Weisscam HS-2 or Phantom HD Gold to get out of your frustrations?
 
Stephen Williams said:
I don't like the pictures, they looked like plastic when I last tested. From what I saw at IBC not a lot changed.
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If you think so then you should probably stay with your Fries Mitchell 35R3 till you don't get better.

I like R1 slow motion and my first slow-mo test @ 75 FPS on CF card shot at March 14, 2008 still looks pretty good even today and I wouldn't say that is soft.

Have a look:

uk_jack_slowmotion.jpg

Shot on R1 2K @ 75 FPS with Carl Zeiss 85mm T2.1 @ T4.


BEAR-UK-JACK-OK!>>2K slow motion test H264 67.4 MB>>>
 
Stephen Williams said:
Hi,

Jim wrote "you can shoot 5K @ 100fps" today that is impossible, had he written 'you will be able to......'
There was talk of Epic's being delivered early 2010, so asking if I had missed anything seems reasonable. I shoots 100 fps & more on 35mm film several times a month, knowing what options exist today is important.

Stephen
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The title of this thread explicitly is talking of the DSMC. The Red One is not a DSMC. Therefore, when Jim explicitly states the M-X capabilities, the context is speaking of the future cameras.

I'm sorry you were not able to grasp this when everybody else here seems to be able to.

Furthrmore, as dictionary.com states: "Can and may are frequently but not always interchangeable in senses indicating possibility: A power failure can (or may) occur at any time."

Therefore Jim's statement regarding what one "can" do with the sensor is not incorrect.

I'm also sorry that you were not able to grasp this when everybody else here seems to be able to.

Finally, once again I ask, what is it you were referring to when you asked what you were "missing" when Jim's statement regarding the resoution and rate was consistent with his earlier statement?

Unless of course, you were being snarky again.

-sc
 
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Stephen Williams said:
with a 180 degree shutter the frame is completely open in the middle of the exposure, so what you are saying is not wholly accurate.
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Have you done the math to see what portion of a 1/48th second exposure is consumed by a 9ms sensor readout duration?

Hint: it's not 100%. It's not even 50%.

-sc
 
I agree with the others here, all the post I have read of yours seems to come from a 13 year old who dislikes a product because his parents bought him the other one. Now I know this is not true and that you are a working professional so I wonder why you resort to conversing with such a nice and helpful company in this manner.

These flaws and errors you mention like film has none? one of the reasons I prefer to move towards digital over film at this early start to my career are all the issues that can pop up with the medium. Now I know digital is not perfect yet or past the quality of film though red is close. But as a young man growing up these days i understand digital camera's and work flow much better, and appreciate the possible speed and work flow advantages I can achieve, as well as personal control rather than relying on expensive labs.

Film's issues include, dirt grit or hairs in the gate that can ruin whole rolls of film, perhaps even more than that if you really don't check it. Possible light leaks once again destroying another reel with all the work put into it as well as cost of the film. Heck you could be a total amateur and try and shoot with 3200k film outside on a sunny day at noon. I could go on and on, but this is not about bashing film but just pointing out that it is not perfect either.

every medium has it's weak point, I think we should all remeber that and be a little more balanced when making statments of these types. to each their own and many like film over digital and always will. I like digital but you don't see me on cinematography boards or the kodak website bashing ever little downside of their medium and products.

As I said I'm young and still learning so forgive me if I am terribly off base just trying to help and I have learnt in my short life that it is much better to be open to others oppinions and points of view. Because if you aren't what is the point of living we are all growing and learning until the day we die.
 
Might I suggest that some of these threads seem more of a waste of valuable time than constructive criticism?

I'm not sure if I'm the only one, but sometimes it is dismaying to see RED employees spending their time getting caught up in (what seems to me), silly games.

As soon as RED puts to rest a "but you promised" issue, the folks finding fault just move on to some other issue. In the end, I suppose it only makes the program stronger, but sometimes I wish the RED team would realize they don't have to defend every accusation made on these forums...

just my perspective.
 
S.Matthews said:
Film's issues include, dirt grit or hairs in the gate that can ruin whole rolls of film, perhaps even more than that if you really don't check it. Possible light leaks once again destroying another reel with all the work put into it as well as cost of the film. Heck you could be a total amateur and try and shoot with 3200k film outside on a sunny day at noon. I could go on and on, but this is not about bashing film but just pointing out that it is not perfect either.
.
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Hi,

It's normal practice to check the gate after a printed take. Never had a light leak equipment gets tested before use.
Stanley Kubrick's Barry Lindon was shoot on 3200K film uncorrected in daylight, looked good to me.

Stephen
 
Steven Caesare said:
Finally, once again I ask, what is it you were referring to when you asked what you were "missing" when Jim's statement regarding the resoution and rate was consistent with his earlier statement?

Unless of course, you were being snarky again.

-sc
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Had I missed the release of the first Epic's?
 
Casey Green said:
I'm not sure if I'm the only one, but sometimes it is dismaying to see RED employees spending their time getting caught up in (what seems to me), silly games.
QUOTE]

I was also surprised when Stuart & Deanan entered the conversation, I noticed they shared the same birthday, 2nd February.
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