New RED V-RAPTOR 8K VV 120FPS Camera
- Thread starter Teddy_Dem
- Start date
rob norton
Veteran
Good point about the venice. I think that's still timing, just not the timeframe I mentioned. If having an in demand camera is important, I guess ideally you'd pick up after any teething issues so you don't get burnt on anything major and just before it really starts heating up.
If RED are going after the venice for episodic televison they could probably come out with their answer to a rialto extension (beyond saying use a komodo).
Run&Gun
Veteran
NorBro, I love you brother, but…. The connections on cameras are hugely important. By volume, yeah the vast majority of everything being shot is by people on their cell phones and dslr/mirrorless cams, but professional production still exists. It doesn’t matter if it’s 1% or .1%. Just because it is in the minority, it does not negate the needs and requirements that they need. Anything intended for professional use needs to have professional connections in sufficient numbers. I don’t expect a mirrorless camera or a camcorder sold at Best Buy to have TC in (and out) or three SDI’s or professional audio connections, but I do expect a camera intended to be used professionally to have the connections I need to do my job.
NorBro
Major Contributor
I think so too, unless they develop a format/standard that doesn't travel through current cable pipelines.
Likely? I don't know, but the world's nuts.
Semi-related to your other thread about energy, they could create all kinds of new video data and the way its displayed.
Sure, now we need 4-5 SDIs and other outputs for all kinds of dohickeys and video villages, but maybe just air waves and goggles or chips in the brain later.
Likely? I don't know, but the world's nuts.
Semi-related to your other thread about energy, they could create all kinds of new video data and the way its displayed.
Sure, now we need 4-5 SDIs and other outputs for all kinds of dohickeys and video villages, but maybe just air waves and goggles or chips in the brain later.
ahalpert
Major Contributor
I was thinking about this again -
In Star Trek, they're constantly running into wireless signal interference. In almost every episode, they encounter a planet that they can't scan or beam down to because of ionization in the atmosphere, radiation, storm activity... They can hide their ship from other ships by flying into or around a nebula. Video and even audio communication signals between ships will get garbled by interference or technical problems and power fluctuations on one side or the other...
NorBro
Major Contributor
haha, great circling back...
In my mind, locations in the world would start to have their own new powerful clouds where the data would bounce around at speeds we might think are fictional in our current state, and having reliable signals 20'-30' away for a monitor or audio seems like it should be simple (at least on sets).
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But I also think production will look different in the future. I imagine it to be a cleaner, colder process where I picture only a box pretty much floating around with some lights moving around from ceilings that are controlled by AI while the human controls the box (the camera).
[Maybe also a few heavily armed guards on set making sure the machines stay honest.]
These boxes will have multiple sensors, lenses, all kinds of tech.
You are not going to see video villages because making a film will be a very automated practice. People will care less and trust the process more.
As far as audio, new solutions will be created and the concept of the current timecode generation (might as well still use a horse and carriage) will be replaced by something else in which the communication between equipment is sophisticated andd every gadget in the room is on the same page without having to be told what to do.
General power solutions will improve.
No power for any motors will be necessary because...it will be an auto-focus world mostly, or we will change focus later in post via key-framing (which I have desired for 10 years).
RF mount is a future mount. I know what is currently used in Hollywood but I quite frankly don't understand the appeal besides the older generation still preferring manual focus. (New anamorphic solutions will come.)
There are so many smaller, lighter, sharper pieces of glass which can be used with auto-focus while post-production continues to greatly improve to manipulate the pixels in post.
These Hollywood boxes will have a few connections here and there for another few decades or so to support 2021 legacy filmmaking (in the same fashion monitors have had A/V ports, and computers had DVD players for a while, etc...but mostly all were eventually phased out).
___
I don't know how much the above makes sense but the best analogy I can provide related to this industry is I think that video production is currently still in a linear form in terms of its potential, and will be more non-linear in the future.
In my mind, locations in the world would start to have their own new powerful clouds where the data would bounce around at speeds we might think are fictional in our current state, and having reliable signals 20'-30' away for a monitor or audio seems like it should be simple (at least on sets).
___
But I also think production will look different in the future. I imagine it to be a cleaner, colder process where I picture only a box pretty much floating around with some lights moving around from ceilings that are controlled by AI while the human controls the box (the camera).
[Maybe also a few heavily armed guards on set making sure the machines stay honest.]
These boxes will have multiple sensors, lenses, all kinds of tech.
You are not going to see video villages because making a film will be a very automated practice. People will care less and trust the process more.
As far as audio, new solutions will be created and the concept of the current timecode generation (might as well still use a horse and carriage) will be replaced by something else in which the communication between equipment is sophisticated andd every gadget in the room is on the same page without having to be told what to do.
General power solutions will improve.
No power for any motors will be necessary because...it will be an auto-focus world mostly, or we will change focus later in post via key-framing (which I have desired for 10 years).
RF mount is a future mount. I know what is currently used in Hollywood but I quite frankly don't understand the appeal besides the older generation still preferring manual focus. (New anamorphic solutions will come.)
There are so many smaller, lighter, sharper pieces of glass which can be used with auto-focus while post-production continues to greatly improve to manipulate the pixels in post.
These Hollywood boxes will have a few connections here and there for another few decades or so to support 2021 legacy filmmaking (in the same fashion monitors have had A/V ports, and computers had DVD players for a while, etc...but mostly all were eventually phased out).
___
I don't know how much the above makes sense but the best analogy I can provide related to this industry is I think that video production is currently still in a linear form in terms of its potential, and will be more non-linear in the future.
Lighting is probably going along the way of Deakins' rig - large circular RGB's overhead with the motorized Fresnel zooms. And subsequent "re-lighting" in post. That way one can shoot with multiple cameras, much like an NFL game. Plus a lot of green screen and/or micro LED video walls to make any soundstage footage look like anywhere at any time.
Coppola already did a "live movie" but that took about a month to rehearse. The followup to his idea is to rehearse a while as well but to shoot 15-20 pages a day once all the talent is gathered in one place.
Coppola already did a "live movie" but that took about a month to rehearse. The followup to his idea is to rehearse a while as well but to shoot 15-20 pages a day once all the talent is gathered in one place.