minor feauture requests BUILD 18/19

[Mark L. Pederson]

two little things I'd love to see -

#1: the meters in the camera react to objects INSIDE the "look-around" area. So .... if you have a light OUTSIDE the frame but INSIDE the look-around area, your meters will be incorrect for the frame.

Anyway you can limit the in-camera meters to the actual frame?

(Same goes for 2:1 shooting)


#2: Asked many times before ... I'll try one more time.

Leave the menus as they are. ADD another menu - that has FORMAT and VARISPEED in the same menu. All day long, people change formats and frame-rates - and yes, user definable buttons go a LONG way (thanks!!) - but I want to PUSH ONE BUTTON and be able to change what I need for the slo-mo shot.

[Lauri Kettunen]

in addition to Mark's suggestions that I second, there are two other things I would like to see

#3 higher color temperature up to 12.000K

#4 "cold" setting for the fan which turns the fan completely off if the camera is used in very cold conditions, say between -15 to -40C, until the camera heats up to a point the fan has to run. Furthermore, the names of the fan modes are not that illustrative. Something like "extremely cold" (or "artic"), "cold", "cool", "normal", "warm" and "hot" would be much easier to interpret out on the field.

[Manuel Wenger]

One more thing I´d really love to have is a sort of framestore or the ability to load a picture into the LCD /EVF set it´s transparency ans use this for setting up a matching shot, this would be sooo cooool.

Thanks
Manuel

[LEON]

What would be very useful to me ( and how many others ? )
would be sound recording from 16 to 30 frames per second.
Is this difficult to implement ?

Also, maybe later if it is too difficult now,
would be an in camera VARIABLE DYNAMIC from 6 to 15 stops.

Today we can adjust with curves at post prod time but at filming time, this would be VERY VERY useful.

Good luck, I mean Work !

[Patrick Tresch]

#3 higher color temperature up to 12.000K


It seems to me that this is in the realm of filtering & color correction.

If you plan to stress your picture so much in post (although much higher than 5000 color temp are not so critical as lower color temp) shouldn't you start to work with color correction filters to get closer to the desired look?

Just a thought...
:biggrin:
Patrick

[Scott Webster]

Put 'False Color' and 'Edge Highlight' on separate menu branches so both can become assignable button options.

[Mark Warren]

Put 'False Color' and 'Edge Highlight' on separate menu branches so both can become assignable button options.

Seconded.

[Tony Lorentzen]

I've mentioned this a few times before, but I'd love to have some kind of password protected "Owner's menu" that will allow someone with proper access to allow/disallow certain features in the camera (like software upgrades/downgrades) and some kind of logging feature so I can see when my camera has been in use and for how long.

[Jason Diamond]

seconded for sure

[sander kamp]

1. I would like the waveform to be back like it was in build 15 - clearly visible and with a red line for highlight clipping and a blue line for shadow clipping.
2. I don't know if this has been asked before but it would be really nice to make different roll numbers on the red drive so you can keep shots or scenes organised.

[Mark L. Pederson]

well ... if we're gonna get all crazy here ...how about displaying battery life-cycles? I strongly suspect it can be done ...

UPDATE: Hold Undo and push joystick in at the same time. Build 17 3.4.1 only.

How did I miss that!!

[Nook Kim]

- I'd like to switch the EVF to b/w without affecting other preview monitors.

[Lauri Kettunen]

shouldn't you start to work with color correction filters to get closer to the desired look

Patrick, Thanks for your comment. What you suggest might be easier to say than implement. I'm shooting outdoors up in north at the artic circle. The problem is that the sun track is very low and on a cloudy day only an hour before or after the noon the light is very blueish although that's not what you see by a naked eye.

Just the other day spent time in a hide waiting for the golden eagle. Once you set the lens out from the hide in the morning darkness the lens can't be moved or the bird will not come. Or, even worse, probably will not come for days. Consequently, no chance what so ever to change filters during the day. Still, the color temperature changes a lot from the morning sun rise till afternoon sun set.

Of course, the color temperature is metadata and thus the white balance setting is needed only for viewing. Still, it would be easier to follow from the EVF what's going on outside if the screen were not that blueish. To somewhat understand the situation, consider yourself sitting several hours in a small hide camera running in pre-record mode and waiting to see if something happens on the EVF. You can't miss more than 30s or otherwise the situation of the arriving eagle is lost. So, small things, such as a brown bird in the grayish landscape helps to recognize that the eagle has arrived.

Yesterday evening I opened recorded files in Redcine and tried the automatic WB setting and it went all the way up to 15.000K. However, by manual finetuning came down to 12.500K-12.800K and managed to get a nice natural color balance.

Edit: Here are some examples of WB. From left to right 8000K, 12000K and 15000K

[Joe G.]

One more thing I´d really love to have is a sort of framestore or the ability to load a picture into the LCD /EVF set it´s transparency ans use this for setting up a matching shot

This is invaluable for VFX work. And not too difficult to do. Please consider implementing this feature.

[Chris Bell]

I like to suggest preset frame rates in Varispeed. I will never need to shoot 37 fps or 89 fps. I do regularly shoot 40,60,120. It's a bit of a pain to have to roll through every digit.

I'll second the need for resolution change in the varispeed menu.

Chris Bell

[Gunleik Groven]

Yesterday evening I opened recorded files in Redcine and tried the automatic WB setting and it went all the way up to 15.000K. However, by manual finetuning came down to 12.500K-12.800K and managed to get a nice natural color balance.

Edit: Here are some examples of WB. From left to right 8000K, 12000K and 15000K

You sorta wouldn't want to do that, due to gain/noise issues.

What you could do, is to degain the blue (and red?) channel on your preview...

[Patrick Tresch]

Of course, the color temperature is metadata and thus the white balance setting is needed only for viewing. Still, it would be easier to follow from the EVF what's going on outside if the screen were not that blueish.

Hello,

I was very amazed about the way you work! I would love to come to see and perhaps freeze:blush: !

I just did a quick math of how much noise you get in the red channel (particularly). To jump from 15000k to 5500 you would only underexpose the RED channel by 2/3 stops... So Yes, if it is so cumbersome, I would definitly not put any filter on the lens as this correction would not be of a huge importance.

Sorry to have bother you with that...

Have a nice shoot.:cold:

Patrick

[Tim Fassnacht]

Re:Edge Highlight and False Color as seperate funtions

Seconded.

Agreed.

Also our long awaited 2:40 ..... And Underslung (flip image) mode for the LCDs would be nice, but my understanding is that if they can't do the seperation of overlays between outputs, then this is probably a pipe dream too.... But hey, worth a shot!

[Trevor Meier]

My big request for the new builds is for the color matrix in-camera (applied to the video outputs) to match what's applied by the RED QT codec / REDAlert / RedCine etc. I'm not just talking gamma issues (that's more an Apple/QT problem) but the color shifts from PURPLE to BLUE.

Ever shot a Chroma DuMonde with a RED, and compared the video tap to the same shot in RedAlert/RedCine/Final Cut?

See attached... on is the default look applied by QT etc. The other is the same frame graded to match the video tap from the camera. Take a look at lower right on the chart.... yeah...

I'm guessing the lack of matrix processing is the cause of the famous 'purple lips' issue that many have experienced on set. It's not that the camera doesn't capture pleasing color gradations, but that the colors on-set don't match what is seen in post.

[Lauri Kettunen]

You sorta wouldn't want to do that, due to gain/noise issues.

Gunleik and Patrick, Thanks a lot for sharing your thoughts.

At first I quite were not able to figure out what you try to say precisely or especially why you say what you said until realized that your thinking works on the premise that there's enough light. One of the luxuries of the Northern are the 'short but dark' winter days. For example, last weekend when filming the eagle I had f2.8, shutter speed 1/25s and ISO changed between 320 to 2000 and still none of the channels were even close to clip.

Nevertheless found your comments very helpful as realized also that my thoughts were somewhat jammed; I've never tried to figure out in details all the effects what the WB setting may have but now your comments forced me to take a proper grip on the issue. So thanks -this is a great forum.

[Jason Sinclair]

One more thing I´d really love to have is a sort of framestore or the ability to load a picture into the LCD /EVF set it´s transparency ans use this for setting up a matching shot

This is invaluable for VFX work. And not too difficult to do. Please consider implementing this feature.

yes nice i third or fourth that one...

You could also load up composition tools using this...

[AntonyCASAFilms]

One more thing I´d really love to have is a sort of framestore or the ability to load a picture into the LCD /EVF set it´s transparency ans use this for setting up a matching shot

This is invaluable for VFX work. And not too difficult to do. Please consider implementing this feature.

Also for continuity and matching position.

[AntonyCASAFilms]

I'm shooting outdoors up in north at the artic circle ... Consequently, no chance what so ever to change filters during the day.


Hi Lauri,

Could I ask you a couple of questions?
Are you using mains power or batteries?
If batteries, how are you coping with them in the cold? Do you have some kind of thermal insulation for them?
Are you using "hot-swappable" mounts, or do you just have to put up with 90 second downtime each time you swap batteries?

Thanks,
Antony

[Lauri Kettunen]

Are you using mains power or batteries?
If batteries, how are you coping with them in the cold? Do you have some kind of thermal insulation for them?
Are you using "hot-swappable" mounts, or do you just have to put up with 90 second downtime each time you swap batteries?


Antony, I'm using Red batteries. They seem to 100+ minutes in cold and I keep the one feeding the camera under my jacket. The other ones are in an insulated case surrounded by chemical "hand warmers".

I don't use hot-swappable mounts for they gradually and, in fact, too fast ruin the batteries. The problem is that the other battery charges the other one but without any control of the current. To see the point, recall what is said in the Red charger manual about charging current in different stages.

So, every the battery has to be changed I hope nothing happens.

[Jason Sinclair]

Also for continuity and matching position.

ACtually if you had the transparency as video would you not get some kind of human motion control system? Matching spins, dollies, steadicam moves etc to almost match and then edit nicely together? That would be so nice....