roxics
01-14-2006, 02:36 PM
http://www.pbase.com/roxics/image/54830503.jpg
Some are asking for two cameras. One on a lower end and one on a higher end. I keep getting the impression Jim doesn't want to go this route. That Red is to be a single camera. If the camera itself is even called Red. We know the company is called Red.
So I started thinking of a modular camera concept that would fit both the low end and the high end. The biggest cost (technologically speaking) for the camera head would be the imaging chip. A 4k full sized s35 sensor. But then I don't know how expensive that would be. There are several advancements being made these days in larger image sensors. Even if the sensor itself cost Red $1000 each in bulk quantities I think a camera could still be made that sells for $5000 and gains a profit. I don't know though.
It seems that bandwidth and storage would be the biggest and most expensive hurdles to overcome a 4k capture. For that you would need something like a fast raid drive system with some pretty beefy digital signal processing $$$.
But on the lower end some people would be plenty happy with a MiniDV deck that does HDV at 24p. Even if only 720p HDV.
Somewhere in the middle there would be a crowd looking to shoot 1080p to a hard drive or P2 based recording medium. A crowd that could manage to pay a little bit more for that kind of thing. Maybe they are ENG people or indie filmmakers with a little more money.
By building a camera that had an analog video head and a swappable DSP/storage deck you could lower the cost for some while keeping the higher quality for others.
Someone buying into the camera on the low end could get the camera head with a miniDV deck for 720p HDV or standard definition recording. The DSP of that deck would only need to be enough to handle that resolution, codec and recording medium. For say $5000. Using cheaper Nikon or Canon lenses.
Someone on the high end could pay $30,000 for a unit that unlocks the cameras full 4k recording. The DSP and recording medium being equal to what is required for that. As well as using higher quality PL mount cine lenses.
Since it's all swappable someone could buy in on the low end and later purchase the 4k deck if they wanted to move to the high end. All while using the same lenses, camera head and accessories.
Everyone is happy. The low end has a real camera with a s35 sensor, low cost mechanical focus lenses, and a cheap capture medium (miniDV). The high end has full 4k capture, cine lenses and fast capture to post process with P2 or Raid drives.
With a swappable lens mounts you could even mount bayonet 1/2 or 2/3 inch video lenses and use only the central part of the image sensor. Then the ENG crowd is happy too. Greater depth of field and full AF.
Some are asking for two cameras. One on a lower end and one on a higher end. I keep getting the impression Jim doesn't want to go this route. That Red is to be a single camera. If the camera itself is even called Red. We know the company is called Red.
So I started thinking of a modular camera concept that would fit both the low end and the high end. The biggest cost (technologically speaking) for the camera head would be the imaging chip. A 4k full sized s35 sensor. But then I don't know how expensive that would be. There are several advancements being made these days in larger image sensors. Even if the sensor itself cost Red $1000 each in bulk quantities I think a camera could still be made that sells for $5000 and gains a profit. I don't know though.
It seems that bandwidth and storage would be the biggest and most expensive hurdles to overcome a 4k capture. For that you would need something like a fast raid drive system with some pretty beefy digital signal processing $$$.
But on the lower end some people would be plenty happy with a MiniDV deck that does HDV at 24p. Even if only 720p HDV.
Somewhere in the middle there would be a crowd looking to shoot 1080p to a hard drive or P2 based recording medium. A crowd that could manage to pay a little bit more for that kind of thing. Maybe they are ENG people or indie filmmakers with a little more money.
By building a camera that had an analog video head and a swappable DSP/storage deck you could lower the cost for some while keeping the higher quality for others.
Someone buying into the camera on the low end could get the camera head with a miniDV deck for 720p HDV or standard definition recording. The DSP of that deck would only need to be enough to handle that resolution, codec and recording medium. For say $5000. Using cheaper Nikon or Canon lenses.
Someone on the high end could pay $30,000 for a unit that unlocks the cameras full 4k recording. The DSP and recording medium being equal to what is required for that. As well as using higher quality PL mount cine lenses.
Since it's all swappable someone could buy in on the low end and later purchase the 4k deck if they wanted to move to the high end. All while using the same lenses, camera head and accessories.
Everyone is happy. The low end has a real camera with a s35 sensor, low cost mechanical focus lenses, and a cheap capture medium (miniDV). The high end has full 4k capture, cine lenses and fast capture to post process with P2 or Raid drives.
With a swappable lens mounts you could even mount bayonet 1/2 or 2/3 inch video lenses and use only the central part of the image sensor. Then the ENG crowd is happy too. Greater depth of field and full AF.