RED Flypack?!?

[Carl Larsen]

Hi Guys -

With the incredible pricing on the RED compared to other HD options (Varicam, F900, even the JVC 250) has anyone looked seriously into what mods it would take to put together a milti-camera (U)HD RED flypack for sports, concerts, etc?

I know there apear to be some current limitations on the RED being used in a typical studio config (i.e no iris control with the B4 Mount, no CCU or paint box announced yet) but I was just curious. Maybe something could be worked out with the fiber connection, or the extra USB port to handle camera control data, return video, tally, etc.

It would ba absoulutely incredible to output live 720 or 1080 while simultaneously recording 2K or 4K onboard for post. No more need for a 25K deck for program or iso feed recording - just hook up your $900 RED drive and let it be your deck replacement with 3x more record time than most HD decks...

Any ideas or input appreciated.

[Steve Gibby]

Obviously there is a big demand and market for the hardlined EFP productions you described - a wide variety of sports and music productions. You also hit on the limitations that RED One, being a manual camera, will have in that environment. With timecode, genlock, RS 232, and 12 volt auxiliary power capability, RED One does have some things going for it in the hardlined EFP environment. Some workarounds will obviously be needed, but IMO RED One will be adapted for use in those genres of production. RED One could also be the hand held or image stabilized roving RF/microwaved camera for those type of productions.

[tj williams]

Of course the big question is how would the RED tie into current workflows as regards remote trucks.

What capabilities would be Needed?

iris control... possibly already available from Birger eng.

paint to match... could perhaps be done by adapting a standard fader box to the USB port of the camera?

intercom... could come from a break out box on the camera cable connector and not go thru the camera

Talley... possibly the same as the intercom with a light on the end of the cable to be velcroed on top of the red.

Program out 2nd monitor mounted to one of the many mount holes.

What else have I forgotten???

Certainly the price is right.... Maybe Birger engineering will setp beyond the basic lens control box? This should represent a pretty good sales opportunity for them and also sell some RED cameras into the trucks.

[Carl Larsen]

Wow guys -

Thanks for the responses. It's pretty cool as a first time poster to get sincere feedback from guys like Gibby and TJ. It's guys like you who make the red commnity so great. Thanks a ton.

I took a look at Briger's site and it looks like they could probably make something to work for lens controls. Does this solution imply that we would use the EF232 mount, or is something else in production?

Also, on the paint controls, Personally I think it would bre great is RED or a third party got into making a box. It's not just hardline studio configs that are using a CCU/RCU setup anymore. They're also a slick way to dial things in on set without digging through menus, or trying to hit a specific iris while executing a shot.

Thanks again. I'm guessing that in a year or so, somebody is going to be shooting from a red truck, somwhere. maybe I'll have to dive in and do it myself...

[chuck colburn]

In case you been wondering what "SPIKE" is up to...

http://en.wikipedia.org/wiki/It's_the_Girl_in_the_Red_Truck,_Charlie_Brown

[tj williams]

Hi Carl

My impression is that you will be able to use your laptop and the usb cable to set up the camera on set.

[JD Holloway]

RED Grip will aid enormously when finished I suspect.
Iris control, focus control, roll control more to come...

Also with Red lenses, the ability to go between 4K and 2k windowed for nice lens extension.
Hell that 300mm goes 600mm pretty darn quick and no noise or grain!
Might need an Arri geared head!

For non real-time recording FCS 2s steady shot function will also assist large...
I'm thinking "NFL Today" quality and then some.

[Anders Holck]

What a scoop if they could get NFL "We'll always shoot film" Films to go RED instead.

[Steve Gibby]

What a scoop if they could get NFL "We'll always shoot film" Films to go RED instead.

I've contributed footage to NFL Films. I think RED One will be ideal for what they shoot - not live NFL coverage, but the behind the scenes documentary stuff.

I produced/directed a nationally-airing documentary special at the NFL Super Bowl XXXIX in Jacksonville in 2005. That one hour special came out real well, but I keep thinking how much better it would have been if I'd have had my RED cameras at that time - 2k RC RAW/60fps for high action, and 4k RC RAW/24fps for all the creative shots, interviews, etc. Not to mention the long shelf life of the footage. Oh well...

Sports television of all kinds has been a mainstay of my business through the years. RED One will be integrated heavily into the production of my future sports specials.