RED wishlist

Luis Caffesse said:
I don't see why anyone would want to limit options.
It would be simple enough to have options which can be bypassed.
If you don't want white balance or gamma manipulation simply don't use it.

From what has been said so far this camera is all about options - not everyone will shoot 4K resolution. Many will shoot 1080P or 720P, hell some may even shoot 480 if there is a reason for it.

Options.
I'm all for em!
Click to expand...

Well Said. I've got 4K on the brain though- man will that be sweet.
But yeah, so long as you can bypass them if you don't need them I guess I agree with you - options are good.
 
I understand why people want so many options. If you make movies and shoot weddings you don't want to have to buy and learn two cameras. I suppose the Irony is that any camera that's dedicated to one job would have a smaller market and so would be out side of my reach anyway.

Really we all want something that can eventually rival 35mm but is still mass market enough to come in at 10 or 20 grand. Guess I can settle for that.
 
I understand why people want so many options. If you make movies and shoot weddings you don't want to have to buy and learn two cameras. I suppose the Irony is that any camera that's dedicated to one job would have a smaller market and so would be out side of my reach anyway.

Really we all want something that can eventually rival 35mm but is still mass market enough to come in at 10 or 20 grand. Guess I can settle for that.

not sure why that posted twice.
 
Okay, my quick 2cents worth before I loose my job for posting on web-boards during work time...

Colour - comes in any colour...so long as it's red? Very dark (dark) red I could accept, bright no good (reflections...distractions). Custom colours all good :)

Style - based primarily on ergonomics and functionality...can't have it looking like modern art where the operator plays twister everytime they want to hit record.

Simplicity - Keep the outside nice and simple...and water resistant. The more switches and buttons on the outside, the more annoying it becomes. Keep menu controls handy, but don't litter the outside like a handycam button fest.

I tend to cameras almost every day of the year in a rental house here in New Zealand. New Zealand has wonderful beaches. Any nook and cranny capable of capturing sand, will. Think about it.

Attachments - I love the VF gadgets F900 handle - you can screw almost anything into it, and clamp almost anything onto it....

Anyway, better go back and do some work.

More ideas as they come :)
 
The one thing the camera absolutely HAS TO HAVE to capture the non-hollywood filmmaking community -

Portability. It has to be light enough to be hand held.
 
in terms of a focus puller; why don't the Red crew implement something that moves either the chip or the lens forward and/or back and thus we use less of the chip and we receive a much deeper depth of field. thus if there’s a wedding to be done people won't panic over the focus.

Or alternatively removable and replaceable chips of various sizes.....that would be hot....will definitely be used on narrative film too.


p.s have I blown the budget? I know I have.
 
JPEG2000 is not bad for hardware implementation, but I've not seen it playback very smoothly in software on the Mac for instance. It's rather processor intensive.

Graeme
 
Graeme_Nattress said:
JPEG2000 is not bad for hardware implementation, but I've not seen it playback very smoothly in software on the Mac for instance. It's rather processor intensive.

Graeme
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can jpeg2000 be brought up to 12bit? (all the stuff I've found online on the subject is really vague)
 
I think the JPEG2000 format covers up to 16bit per channel, but the only software implemention I've used, in Quicktime, is 8bit.

Graeme
 
All of these suggestions sound great, and I would dearly love to have an optical viewing system. At these resolutions, there is no better way to focus IMHO. Possibly have it be a dual mode optical / electronic with a flip of the prism. And as an Aaton owner, I think a nice hardwood handgrip would be cool! :)

Can't wait to see how this one looks... I still want my HVX though!

-David C. Smith
LA / OC D.P.
 
I would like to have a visual feedback - like the zebra feature - which part of the picture is in focus.
 
1080p isn't this just roughly 2mp? RED's offering 4k full frame that's awesome, I love forward thinkers! Canon 5D 12.8mp DSLR at 3500. for the body. Things are becoming much more affordable for the creative mind.
 
Currently, I really like the form factor for the GY-HD, with a Dionic 90 on the back for the balance. It feels like a light-weight professional cam, and not nearly as heavy as a Cine Alta. Small enough, and comparable in size (only a little larger) than a Sony Z1U.

Try aiming for something in form similar to the GY-HD-- and it would be understandable if it was a few inches (camera body only) longer!
 
Forgive me if someone already suggested - available SD monitoring in all shooting modes.

Having multi-format monitors for everyone on the set is spendy!

e
 
How useful though, is SD monitoring when you're shooting 4k or HD? SD has a different colour space and not enough resolution to accurately monitor either.

Graeme
 
Graeme_Nattress said:
How useful though, is SD monitoring when you're shooting 4k or HD? SD has a different colour space and not enough resolution to accurately monitor either.
Click to expand...
You could ask that for every film shooting.
Most of the time it's just important to see what's in the frame.
Let the focus puller worry about sharpness and color is anyway done in the post.
 
With RAW, colour really isn't an issue until you get to post at all, and indeed, a focus puller can do focus, but with video, I still find it best to have a display of enough rez to check focus. If you're recording HD, not RAW, it's going to be useful to check colour though.

The key thing is to capture as much dynamic range as you can!

Graeme
 
Ideally it would be nice that all the crew would have wireless 4k video goggles (made by guess who? :-), but in real life you still can't even find fullHD electronical eyefinders everywhere. And most of the productions can't carry lots of something like apple's-forthcoming-40"-4k-display-$10k/piece around all the time.

But for RAW recording, there could be at least one lo-fi realtime converter for colors in the set.
 
Oh, yeah... my request is not an instead of, but an "in addition to".

Look, I just finished a dozen-plus camera HD (CineAlta / Z1U) show and the lack of monitoring options (outside of one or two MultiFormat monitors) was a real issue. We shot a,b,c,d... units "untethered" - with no truck for the director or network staffers, so everyone was crowded around a cluster of tiny 9" HD Multiformats. How much easier it would be to break out a low-cost SD feed to anyone who wanted it from a common composite DA!

For prosumer monitoring or capture monitoring, as in HDRack or some other laptop-based application, full resolution won't be achieved anyway within the tiny GUI component-laden interface.

There are a lot of legacy SD 16:9 underscan monitors out there that could at least be put to use for framing and redundant on-set monitoring. These will continue to drop in price as LCD (almost certainly unable to support 4k anytime in the foreseeable future) solutions further saturate the crafts.

e
 
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