RED wishlist

I think it is a bit unrealistic to expect to get digital cinema camera below $10k.
First models are propably manufactured with low volumes, which also increases the prices.

One idea to get usable but cheap enough FF lenses might be customizing eg. EOS lenses.
 
Probably some umpopular suggestions but I don't like the digital trend to more and more options. I would like to see:

An imaginative, unique but well thought out form factor.
A box of custom RED prime lenses.
P2 like storage but bigger and cheaper.
Large View Finder or an articulated arm.
Included Matte Box.
Filters.
Maybe a collection of different handles and mounts so you can hold the camera however you want. I hate the idea of a shoulder mounted camera if it's uncomfortable off the shoulder.

I want an artists tool. Something that inspires its user rather than the drab cut and paste designs we are currently stuck with.

Of course it should work with all third party accesories like rigs and tripods but can't we have something more inspired than an XL2 and more filmic than a DVX.

And most important of all a European release at the same time as the US one (this is probably irrelevant with UHD but it irks me none the less).
 
Oh and could they throw in a hitherto unimagined super Apple Power Book.

I edit SD with a Power Mac with Two 2.7 gig G5s and 2 Gig of ram and I can still get the real time to panic in Motion 2 and FCP. The thought of RAW UHD at 100 FPS is like the thought of naked women when you're 13 - exciting but terrifying.

And where do I hang the Cinema Displays?
 
- HDV

- Focus rings like the XL1

- Mini-Jack audio

- Cineframe

- On board battery charging

- and most importantly, gotta have the 800x digital zoom!
 
Why not 3 P2 slots and tape options .For those of us that shoot tv ads.Panny has paved the way for a usable work flow in true 1080p why not use it.don
 
toke lahti said:
I think it is a bit unrealistic to expect to get digital cinema camera below $10k.
First models are propably manufactured with low volumes, which also increases the prices.
Click to expand...

Well then DVX User might as well open up a section for the Viper as well.
 
marko5000 said:
Oh and could they throw in a hitherto unimagined super Apple Power Book.

I edit SD with a Power Mac with Two 2.7 gig G5s and 2 Gig of ram and I can still get the real time to panic in Motion 2 and FCP. The thought of RAW UHD at 100 FPS is like the thought of naked women when you're 13 - exciting but terrifying.

And where do I hang the Cinema Displays?
Click to expand...


I think with the resolution we will get out of the Red Camera (assuming you want to do online full rez editing) you can forget about editing on a home workstation - this kinda thing sounds like it calls for Avid Adreneline and the like - my 2 cents - find a post house with nice editng suite and make friends with them.:thumbsup:
 
I know that it's already been mentioned, but if this cam is going to be hot for indie film makers (who often do event stuff with minimal crew to pay the bills), then paying attention to good on board audio is a must.

The increased quality of the DVX100 audio to it's competitors was a big selling point to me. As big as the 24p and the increased control of gamma settinngs.

So 2 (or 3, depending on the layout) well placed XLR inputs, decent onboard preamps, and 24 bit audio are all things that I'd like to see.
 
I'm not sure Andrew. It seems like you should be able to do all your editing offline and then bring in the huge files for color grading etc. Seems to be a typical workflow, though I have no idea how current computer software would respond to video at 11.4mp a frame....
 
Exactly, it would be comforting to know that if you needed more resolution you could have it (ie you want to do a film out on a certain project). Options are good.
 
It would also be nice for those of us that like to shoot 2.35:1 and don't want to crop 1080 footage =)
 
Scope is the place to be!

But I'm still pretty happy with cropped 1080P. However, an option to use anamorphic 35mm lenses that target a 4x3 area of the sensor at 4k would be killer. I absolutely adore the anamorphic look -- distortion, curvatures, flares and all!
 
To be honest talk of event work and shooting for TV diminishes my interest in this. If that's your thing then surely the HVX is more than enough?

Give me a dedicated replacement to shooting on film. Keep it simple, maybe with pre-programmed setups to replicate a choice of film stock. Could a black and white setting improve quality?

As for editing I am joking really. By 2007 we should have power macs with 4 dual core 4 gig CPUs 32 gig of ram and 40 inch displays. That should just about manage.

And as mentioned by others make it rugged. I want to shoot on the marshes in the rain and not worry too much if I drop it. (I once left a college Bolex on a tripod whilst we broke for Tea and it fell over Managed to break the Lens and the Mag off).

It should be mentioned that I currently shoot on a single chip JVC, I am waiting on my first DVX and couldn't possible afford any of this stuff for a couple of years, so please ignore me.
 
marko5000 said:
To be honest talk of event work and shooting for TV diminishes my interest in this. If that's your thing then surely the HVX is more than enough?

Give me a dedicated replacement to shooting on film. Keep it simple, maybe with pre-programmed setups to replicate a choice of film stock. Could a black and white setting improve quality?

As for editing I am joking really. By 2007 we should have power macs with 4 dual core 4 gig CPUs 32 gig of ram and 40 inch displays. That should just about manage.

And as mentioned by others make it rugged. I want to shoot on the marshes in the rain and not worry too much if I drop it. (I once left a college Bolex on a tripod whilst we broke for Tea and it fell over Managed to break the Lens and the Mag off).

It should be mentioned that I currently shoot on a single chip JVC, I am waiting on my first DVX and couldn't possible afford any of this stuff for a couple of years, so please ignore me.
Click to expand...

I agree with you. This camera is going to be for cinema - if you are an event videographer look elsewhere (when's the last time you saw a wedding videographer with a focus puller at his side).

BUT - I suggest you read up on the Viper. The Viper is an existing 4K cam with many of the proposed functions of the red camera. The viper has a minimal amount of in-camera manipulation options (I believe it even lacks white balance) - the Viper was made this way to ensure the cleanest most unprocessed footage for post - I think the red camera should be designed in a similar fashion - keep it simple and clean in camera, and let us mess with the footage in post!:thumbsup:

(so therefore I believe we shouldn't even have the film stock replicator)
 
Andrew M said:
I think the red camera should be designed in a similar fashion - keep it simple and clean in camera, and let us mess with the footage in post!:thumbsup:
Click to expand...

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!
 
You must log in or register to reply here.
Back
Top