My perfect module

[Pawel Achtel]

Ok, I'll take Jarred's invitation and describe my perfect module, the GPIO module.

The module allows remote control. But, not wireless and not any type of remote control. It is more suitable for underwater and many other remote applications such as helicopter, crane, etc...

The module has a bunch of addressable GPIO ports. Just about any function can be assigned and wired to a microswitch (digital input) or a 5k Pot (analogue Input). An adjustment of an analogue input shows the current value on the screen overlay temporarily when the value is changed. Functions such as REC, DELETE NG (yes!), Zoom 1:1, POWER ON/OFF, etc.. can be triggered using those GPIO ports.

How is it different to RedMote? It is a wired solution, it is assaignable, and requires 3rd party triggers and knobs to function.

How important is it for me to have one of those? $4-$5k is on the table.

[Michael Hastings]

For many many moons I have been asking for some kind of remote for the R1 or to simply publish the protocol so we could make our own.

Your version would be just as good and simpler to implement for the user. Ironically, all you are really needing is to parallel the switches/buttons already on the camera.

Another nice capability would be to turn the camera power on and off remotely.

[Jay A. Kelley]

Jarred I do not have a perfect module at this time, but I WOULD like the IO module to have the audio video ports angled either towards the back of the camera, or down. Please do not let them stick straight out.

Thanks!

Jay

[Paul Leeming]

One module I think is doable if it is specialised, is purely a wireless I/O module with a couple of good antennas on it.

This module's sole function is to transmit a variety of data, from the mundane right through to live video out (copied from viewfinder stream with or without guides etc) as a high speed bitstream transmitter, whose companion receiver (battery operable) can decode and re-route the incoming data to whichever output it belongs to. The receiver would have at least one HD-SDI out and some data output such as USB or LAN for non image related streaming.

HTH Red Team, have a wonderful New Year's Day!

Paul

[Jay A. Kelley]

One module I think is doable if it is specialised, is purely a wireless I/O module with a couple of good antennas on it.

This module's sole function is to transmit a variety of data, from the mundane right through to live video out (copied from viewfinder stream with or without guides etc) as a high speed bitstream transmitter, whose companion receiver (battery operable) can decode and re-route the incoming data to whichever output it belongs to. The receiver would have at least one HD-SDI out and some data output such as USB or LAN for non image related streaming.

HTH Red Team, have a wonderful New Year's Day!

Paul


This is a good one.

Jay

[Jeff Kilgroe]

I would like to see a "Pro Audio Module" that has multiple I/O, pots, monitoring and control functions either on the module or a separate control surface that is tethered, or preferably wireless. Essentially a full blown audio mixer that can be mounted in-line with other camera modules on or off the camera. This would be great for ENG use and lots of non hardlined EFP productions, especially with smaller crews or limited space, single operator or remote operation scenarios.

I also second Pawel's request. A control module or full control functions on the camera accessible via USB or other easily interfaced connector. Need to control everything from power on/off to all other controllable functions, including lens functions for electronic lenses. Not only useful for underwater, but for any form of remote mounted, remote control scenario.

How about a mirrored-media module? Would be an ENG / EFP godsend... I don't know what the full story is behind that 128GB RED Mag shown in one or two of the renders, but a module that can hold two of those and provide either sequential recording for long record times or provide mirrored recording to create duplicate copies at the time of record would be awesome. Camera crew could shoot to one RED Mag and have their master copy while handing over copy #2 instantly to a broadcaster or news agency. Which also leads to one more question about REDCODE....

Any chance in the near future or with the upcoming cameras, that original REDCODE files can be encoded or stamped with a watermark or digital fingerprint of some kind so it can be verified what camera shot the footage?

[Jay A. Kelley]

I would like a variation on Jeff's request, but a little more straight forward. How about a module that features a unislot to take a wireless reciever.

This is a very useful item.

Jay

[Jay A. Kelley]

Any chance in the near future or with the upcoming cameras, that original REDCODE files can be encoded or stamped with a watermark or digital fingerprint of some kind so it can be verified what camera shot the footage?

This is major!

[Casey Green]

How about a mirrored-media module? Would be an ENG / EFP godsend... I don't know what the full story is behind that 128GB RED Mag shown in one or two of the renders, but a module that can hold two of those and provide either sequential recording for long record times or provide mirrored recording to create duplicate copies at the time of record would be awesome...


Great idea, Jeff.

I also brought this up a little while ago in the "Another Taste" thread:
http://www.reduser.net/forum/showthread.php?t=23905&page=16

I think the ability to have a second REDMag Module that could record simultaneously as a backup, would be great. BUT the more valuable feature, I believe, would be the ability to have the second REDMag recording in a different format. (not a different frame rate or anything that needs changes made at the sensor, of course).

This would be HUGE for Feature work, as well as many other types of productions that want to shoot in resolutions higher than HD for their Master, and still have instant lower-res versions available to view.

Imagine being on-set, and having "Rushes" come straight off the Camera on a separate REDMag in 1080p scaled RGB, while you have the 4K+ version available to backup and send to Editorial on another REDMag.

I'm not sure if the brain of an EPIC or Scarlet would be able to handle this additional processing, but perhaps a specialized module could have an onboard co-processor (mini-brain) if needed. It could be a bit pricey, but I think for certain projects, it would more than pay for itself in time saved.

Panasonic has an accessory for the AJ-HPX series of Cameras (P2) called the AJ-YAX800G Proxy Encode Card.

From the Panasonic website:

"It allows AJ-HPX Cameras to record MPEG4 proxy (low-resolution) data onto the P2 card or an SD/SDHC Memory Card along with full-resolution data. This can be used for quick viewing of dailies with timecode and it's low bit-rate provides easy transmission over wired and wireless networks. It's also perfect for enhancing news production and simplifying long format program editing, including documentaries and reality television. The three levels of proxy video available are 1.5 Mbps, 768 kbps and 196 kbps which contain AV data, time code, metadata, and other control information."

Not bad for $1200.

Similar to this concept, the second REDMag would allow the Camera operator to decide which quality/format is being additionally recorded, from a full-res identical backup or 1080p scaled RGB version, all the way down to a low res proxy used for sending across networks quickly without needing too much storage room.

I'm sure there is plenty of technical issues that I am not aware of in how the inner workings of EPIC of Scarlet operate, and this may just not be possible. But I figured it was definitely worth adding to the list here.

Even if it were just possible on EPIC, I think there would be pretty good demand for it. I'd be curious to hear what others think. Is this something you could use?

[Pawel Achtel]

The mirrored-media/extended recording module would be a big time saver. I was thinking to add this request, but I thought I already exhausted my Santa vouchers and Jeff beat me to it. I second the idea. Essential? Not. But, so bloody nice to have :biggrin:

[Jarred Land]

Any chance in the near future or with the upcoming cameras, that original REDCODE files can be encoded or stamped with a watermark or digital fingerprint of some kind so it can be verified what camera shot the footage?

This is already done... in RED ONE, and will be in the new cameras. Its just one of the many benefits of the o-so-great REDCODE format :)

[Tom Lowe]

I like where this thread is headed. Already some good ideas here. http://www.reduser.net/forum/images/icons/icon14.gif

[Hrvoje Simic]

Let's see....


1.Handle

Design

As I see, current REDhandle is designed in DSLR style.
I suggest adding a ENG/EFP style designed handle, larger and thinner, where the grab is more natural for the fist and less force is needed to hold the camera - with the strap over a wrist.

This is especially useful with lighter setups, because between shots (on a fast shoot) you can hold the cam in one hand (like on a tray - facing up) with all the weight resting on your palm. With current solution you'd have to grab it by the handle - inducing more muscle strain. More muscle strain = more shakiness on longer hand held shots.

Customization

Rotating handle = necessity, IMO. 180 degree, with centre of rotation in the middle of the handle.
No wrenches or tighteners. Click-turn-done.


2. Rail system

I think that there is potential in developing RED module attachments and their customization, by developing another mounting solution. I got this idea thinking about the handle customization, where I would want it to be able to slide down the length of the camera (next to the camera body, not only under it), depending on the setup and weight distribution.

Solution 1
Machined "channels" on the surface of DSMC modules, spreading across the whole length of the camera. This way you could mount any new modules directly on the camera body without the need for rails, and slide them around, getting better weight balanced system with less overall volume.

Solution 2
Rotating rail system.

Two round thin modules around the camera body - ring type, on the front and the back of the system, which carry the rails. Depending on the setup you could rotate the rails around the camera (parallel to the body).

Example 1: No need for additional handle for side shooting if one handle could rotate on those rails
Example 2: Left handed shooters (also depending on the design of the handle)
...etc...


3. Multi-functionality

With all this cable clutter and gazillion new options and modules coming, maybe their functionality could be enhanced. Just thinking out loud....
-handle could double as a battery holder and little breakout box (inner exchangeable modules)
-rails - data or power inside
-REDriser - storage, breakout box, audio controls...etc...

4. Touchscreen module

I've rambled enough about this here (http://reduser.net/forum/showthread.php?t=18066) :-)
- so to keep it short - faster access to functions and settings with fewer clicks.

5. Module shape

Current module shape is slightly concave. I guess this is mostly not important for cinema style shooting. ENG/EFP cameras today are slightly convex, with smoother edges. This is for a good reason.
It is more ergonomic, you can grab a camera in many different ways closer to the body - much more comfortable then hard edged camera, or a cinema setup with rails and all add-ons.

With all the features and weight, my dream camera would also be compact and practical and it seems logical that the best camera should use the features and advantages from all the worlds, not just cinema one.

Personally, with a device which involves tight human interaction, such as a camera, I'd go with "biotech" crossover style, which is nothing new to RED, judging by the mattebox design. :-)

[Paul Leeming]

Any chance in the near future or with the upcoming cameras, that original REDCODE files can be encoded or stamped with a watermark or digital fingerprint of some kind so it can be verified what camera shot the footage?
As Jarred said, it's already in the footage, right down to individual frame numbers and camera serial number:

http://www.visceralpsyche.com/misc/web_images/red_metadata_hexcode.jpg

HTH

Paul

[Jeff Kilgroe]

That's all fine and great contained within the metadata... But is there something more that I'm unaware of? I'm looking for an actual impression or watermark encoded beyond metadata that can't be tampered with. Something along the lines of a digital fingerprint or digital DNA, unique to each camera. What keeps me from doing a search and replace with a hex editor to change the camera info?

[Stuart English]

That's all fine and great contained within the metadata... But is there something more that I'm unaware of? I'm looking for an actual impression or watermark encoded beyond metadata that can't be tampered with. Something along the lines of a digital fingerprint or digital DNA, unique to each camera. What keeps me from doing a search and replace with a hex editor to change the camera info?

This is an intresting question.

a) if someone is prepared to tamper with every frame of the original footage, then are they not prepared to deal with watermarking too.

b) How does watermarking survive a downconversion to a lower resolution format?

c) If a watermark is not visible, how is it of any use as a protection?


Bottom line, how do you see a watermark working, and what's it worth to you in terms of price, slower recordable fps, extra power consumption?

Just asking :-)

[Jeff Kilgroe]

Good questions, Stewart. I'm probably not looking at it from the right angle. REDCODE is digital data, therefore highly malleable. Perhaps this is not something best solved with the recording format, but is more a task for the recording medium or archival services, etc..

I'm interested in watermarking for legal purposes, verification of ownership over disputed content in the ENG world, copyright disputes and for purposes of posterity for documentary and archival footage.

In response to the above questions:

a) Yes, being data, it's possible to tamper with anything. Depending on the type of watermarking it may be possible to limit the tampering though -- perhaps while it's possible to alter the mark, it may not be possible to replicate another camera's watermark. Maybe this is something that can be built from sensor profiling and noise characteristics. But then does it change with updates to the compression algorithms or each time black-shading or firmware updates occur?

Perhaps something within the wavelet compression that could use the camera PIN as a basis for wavelet constructs, or the order in which segments or data blocks are processed. Almost a form of encryption, but not with the goal of obscuring the data, but rather introducing the effect of undesirable image attributes or artifacts if the data is rearranged and modified to conform to a different base order or camera PIN.

b) I don't have an answer for this one, but then again, if the original source files are maintained, does the mark need to survive a conversion as long as the original R3D or acquisition file can be verified for authenticity?

c) The mark may not be directly visible, but perhaps something that can be extracted or identified through a utility and SDK functions.

Like I said, this is probably not something best solved via REDCODE. It was just one of those things that I could see useful if it can be included in some realistic manner. At what cost would it be worth it? I'm not willing to give up the resolution, fps, etc.. that we have now. Financial cost consideration would be fairly low too. Because there are external options to ownership verification now. I can submit copies of media as a digital archive to various archival services, court archives and government agencies, trademark offices, etc.. who will all submit my original media to a court of law, along with an official statement that they guarantee no one has had access to these copies or has modified them in any way.

[Jeff Kilgroe]

Anyway, getting back on-topic here...

Jim posted a render showing both a dual CF module and RED MAG module. Which brings me back to my suggestion above for a module that could record two copies of media simultaneously. Thinking about it some more, that seems like it's not necessary. Given the modular nature, couldn't we just connect two RED MAG modules in-line and have a setting within the camera to use the media either sequentially, for hot-swap continuous recording, or simultaneously for duplicate copies made at record time? Perhaps the same can be done with CF and even a combination of CF / RED MAG / RED Drive, etc..


http://www.redgrabs.com/up/1229786890.jpg

[Joe G.]

As long as we're doing a wish list, I saw 'wireless' mentioned, but not elaborated on.

1) A wireless broadcast of the video signal to be picked up by multiple monitors, for the DP, the Director, a Producer, etc. Little hand held monitor that can see what the camera sees from anywhere in the area would be fabulous.

2) Wireless module for the sound to enter the camera, so no tethered wires to trip over, no problem with wires pulling people, and ease of setting up in new spots. Will save time/money on set.

[Ryan Patch]

Yes, #2 would be great!

The real reason (in my opinion) that we haven't seen full-fledged cinema sound being recorded to a camera, even though the RED has good audio features, is simply because the added wires make most mobility impossible and add at least 5 minutes to each setup.

If there was a way to go wireless-ly from the sound man's station into the camera... you've just sped up editorial a huge amount, eliminated a couple of veeeery boring and tedious jobs in post-production, got rid of missing/mismatched audio clips... this would be great.

Ryan

[Manuel Wenger]

I´d love to have a VFX Module ;)

with this Module one can choose a recorded Clip from the CF Module or other Media Connected load it into a internal Flash Memory and overlay it into the EVF / Monitor Outputs. Overlay options should include transparency, and some simple Color Keyer for Green/Blue and Luma Key.
The Clip can be played back seperate with a play button or triggered that it plays back the at the push of the record button. For Shooting Miniatures the cleip should also be able to play back in 50% and 25% speed.

Another possibility on this module would be a USB Stick where one can load Jpeg or Tiff or even dpx images and overlay them on the display the same way as described.

In this module i would also include the 1 frame recording mode, but with the option to playback the recorded images out of the HDSDI while still in record mode, or to always show the last 3 recorded frames with reduced transparency (onion skin mode).

Just in general i´d love to get the Variable Framerate mode easier accessible. Would be great if i can store setups onto a user key or if we can get something like a lockable dial for the framerate and we get an information on the monitor if one changes from 5K 25fps to 2k 200fps "You changed from 25fps to 200fps, would you like to change to 2K project size ?" So in other words you dial in the desired framerate and the camera adjusts the resolution accordingly.

my 2 cents
Manuel

[Daniel García]

I want something like this http://www.addonics.com/products/mobile_rack/doubledrive.asp on a module, allowing easily swappable standard Sata drives, most probably laptop sized. Let me choose if I buy SSD's or hard disks for each situation. I can buy as many disks as needed for each project, and when new and bigger models appear I just buy them over the shelf. I think the official 2x160Gb Reddrive is obsolete nowadays, and that'd never happen with this option.
(yeah i know this will never happen... too much space open for disaster... can of worms).

Add a RAM buffer for each write operation to avoid dropped frames. THIS I think is vital. It'd also help the pre-record operation.
The first part was tongue-in-cheek but this should be easy to implement. Mid-nineties cd-walkmans had something like it :)

[Daniel García]

Also a little comment that I thought of earlier: make the shoulder pad adjustable to the angle of the operator's shoulder... have a look at the ET Mantis to see what I mean.

[Jeff Hitchcock]

How about Red licenses out the module interface and specifications to various manufacturers. Imagine ASL Gear being able to create their interface panel as just another module in the system. Then we wouldn't have to rely on Red for all of our modules, and can leave them to making more awesome cameras while ASL and Element Technica and other companies make all of great modules for us.

[Stefan Christou]

Yes, #2 would be great!

The real reason (in my opinion) that we haven't seen full-fledged cinema sound being recorded to a camera, even though the RED has good audio features, is simply because the added wires make most mobility impossible and add at least 5 minutes to each setup.

If there was a way to go wireless-ly from the sound man's station into the camera... you've just sped up editorial a huge amount, eliminated a couple of veeeery boring and tedious jobs in post-production, got rid of missing/mismatched audio clips... this would be great.

Ryan

Great idea. Especially if it's digital and can handle lots of different frequencies s it can be used anywhere in the world without jamming the local's TV/Mobile phone.


I know this will contradict the DSMC term, but I think there is room for a purely stills brain. Though the DSMC concept is meant to cover the needs for both stills and motion, I think the stills people will continue using Nikon/Canon DSLRs to cover their needs, based on price per megapixel. And the Scarlets/Epics with enough resolution are way more expensive than their DSLR counterparts for still use. So I think there's room for a still brain, high resolution, but low frame rate and competitively priced against the DSLRs. Not for my own needs, but for all stills photographers who don't bother doing motion.

Sindre Saebo
Oslo, Norway

Some people just don't get it :cool:

[Thomas Koch]

I would love to have some sort of CCU for the 2/3" camera. Looking at the prices of HD studio cameras is daunting. I would love to replace our 10 Standard Def studio cameras (D35 and D50's) with Scarlets. All I need is iris and paint function of the HD-SDI out. An umbilical is not necessary, but would be a great solution so there is just one cable to run.

[Mark B.]

The main thing I'd like to do is keep the configuration as small as possible, and right now the pro audio module seems very large. I'd like to see a shallow audio module, with two mic ports on one side and two level knobs on the other side.

[Imran Farouk]

Just a thought,with a stills only brain you kill the idea of dsmc...you also defeat the idea of the USP...
The whole point being it does both sides brilliantly...
There are other ways to shoot "still" photography as esquire and many others are finding out...this type of system opens up doors to some ideas that otherwise would never exisit...

I think RED would simply say, "if you just want stills there are others to choose from",
the only other way I could see them making a stills brain is if modules would work with it and if it did video as well on some level higher then that of it's competitors,

pretty much tho that's brings u back to DSMC. Don't mean to offend or anything it just is a round trip back to the DSMC concept. When Monstro is released...then this idea of MPs being important can be at rest...648mp is a lot!


Edit:

if you went on that dollar to MP thing...

20 was 2,000

48 would be 4,800

648 would be 64,800

that's just stills though...add motion in and I think it's not a bad price that RED has for 617, may even drop by a few thousand or not (when they begin development) but still!


On the note of the thread:

VFX module definetly with the ability to freeze last frame of clip, overlay to allow ease of possibly framing the next clip...

I wouldn't mind either a wireless module that can hook up with the wi-fi network so some cool iPhone apps can be done...

[HD Hildebrand]

The main thing I'd like to do is keep the configuration as small as possible, and right now the pro audio module seems very large. I'd like to see a shallow audio module, with two mic ports on one side and two level knobs on the other side.

My sentiments exactly. There are two reasons I want to upgrade to the the Epic - size/weight and higher 4k frame rates. Love the framerates that have been posted, but the audio module seems too large in comparison to the rest. In fact, buy adding it to the unit, it seems to bring the size and weight of the Epic right back up to the Red One. Correct me if I'm wrong here. Perhaps this is one component that will change before the release.

[Oliver Koeppel]

Implemented timecodesyncmodule like lockit (http://www.ambient.de/produkte/timecode/lockit/acl_mehr/acl_mehr.html) or a wireless tc system for wireless tc-slate or auxiliary sync, would make sense also

[Oliver Koeppel]

I´ve got another idea.
I really would like to have a module with arri-compatible connectors like arri-rs, and arri dc-outlets with internal 12/24V switch for in and out. It would be very helpful with additional accesories like heated icups (would be also very helpful if the new evf will be compatible for standard icupsheaters), remoteswitches, remote follow focus, etc. With a module like that, same equipment used for arri cameras could be connected without any use for adapters.

[M. Reilly]

I know this isn't a "module" as it's been defined here, but what about an ENG type accessory... a shotgun mic and powered, on-camera light mount that could sit on top of the brain.

I can see it on the fixed 2/3", easy.

Perhaps? I know there are more shooters who would be interested in a RED/ENG solution.



EDIT: I'm aware this is an EPIC forum, but this thread seems like the place to come regarding module ideas.

[jimhare]

I would love to have some sort of CCU for the 2/3" camera. Looking at the prices of HD studio cameras is daunting. I would love to replace our 10 Standard Def studio cameras (D35 and D50's) with Scarlets. All I need is iris and paint function of the HD-SDI out. An umbilical is not necessary, but would be a great solution so there is just one cable to run.

Still shooting RAW so the HD-SDI is more of a preview than something you would want to record. Not to say it doesn't look great, but not really RED.

[Mark B.]

I know this isn't a "module" as it's been defined here, but what about an ENG type accessory... a shotgun mic and powered, on-camera light mount that could sit on top of the brain.
With the heat blowing from the top of the brain, you probably won't want anything situated immediately above it.

[Hans von Sonntag]

I saw the IO module on IBC pictures. The connectors still stick out in an upright fashion. In this configuration the connectors are prone to brake. I already broke one with my RedOne, that never happened with any other camera. The ET breakout adaptor solved this problem elegantly for me and I don't use sound recorded with the camera. But many do. Please don't leave that to third parties.

Thanks,

Hans

[Hans von Sonntag]

A question:

Does anyone know wether a TC I/O socket is installed in the brain or do we need the IO module for TC I/O?

Hans

[Brain S]

has the left side of the epicbrain a rec button ??
thats very important for full-rig-setup (zoom, handle tft etc.)

[Brain S]

My perfect module:::
slim-module for
shutter, rec buttom, assignableKeys
on the left side or front
the CFmodule is to "big" to mount a remote over it, right?!

[Peter Plevritis]

A Location/Orientation Module. Built in GPS, inclinometer (roll, tilt), and compass all encoded into the r3d metadata. Would be useful for vfx tracking work.

The inclinometer would have a visual display.

[Eki Halkka]

A guerilla run-n-gun camcorder crashcam module: battery, card, small LCD (which doubles as both the interface display and a monitor) audio in-out jacks and the most essential buttons for basic operation crammed into a single as-small-and-light-as-possible module on the back of a "naked" brain. In other words, the bare minimum setup to be able to shoot, in as compact a package as possible.

And if there's a little room there, one phantom powered XLR input, thanks ;-)

[Eki Halkka]

A guerilla run-n-gun camcorder crashcam module:

Okay, found this on another thread:

http://www.reduser.net/forum/showpost.php?p=478108&postcount=252


Epic setup in the photo has everything you need to shoot minus the power ( just like the RED ONE ) so its almost an apples to apples comparison..

It has EVF/LCD output plus CF recording via the side CF module, HD-SDI out, HDMI out, 2 channels of Balanced Mic Audio in + 48v Phantom power, Headphone out, Power in, RS-242, Genlock/GPIO, all on the Brain itself.

...so, let's redefine a little. A guerilla module that has a battery, a CF slot (or maybe something smaller like an SD card slot?), a small LCD that doubles as interface display and monitor plus the most essential control buttons. The rest is already on the brain it seems ;-)

[Andrew McCarrick]

I'm not sure if the brain of an EPIC or Scarlet would be able to handle this additional processing, but perhaps a specialized module could have an onboard co-processor (mini-brain) if needed. It could be a bit pricey, but I think for certain projects, it would more than pay for itself in time saved.


I don't get why the brain would be doing any scaling what so ever. All scaling should be done on the corresponding module you want a different format on. Say Epic S35 5k... All scaling to 1080p or 720p should be done in the I/O module, or onboard the viewfinder/LCD monitor. This would allow to scale at a different format sizes independently of what the camera itself is doing. Get two I/O modules one at 720, one at 1080... while using the RED LCD at whatever resoultion it would be (send the LCD information overlay as a different video feed over the LCD cable, then overlay after scaling the video in the LCD).

[Joseph Ward]

Full enabled working Epics and Scarlets with no bugs. No need for firmware upgrade unless you want, not need.

Modular Multi Sided- Some Modules can connect and expand Left, Right, Up, Down like the Back. No Front expandability due to obvious reasons.

Tethered or Wireless connected- Keep Brain and Lens like a Lipstick Camera and all other equipment can be place elsewhere.

DSMC ALL= Broadcast Enabled, ENG TV and RGB FF1080P as well as RAW.These cameras will be professional cameras for LIVE work.

Stereoscopic and HDR Capable.

Electronics, Fan, ASIC and Sensor Upgradeable(I know this is out but still have to put it)

[Andrew McCarrick]

How about a fiber I/O or something to connect to Codex Digital and S.Two Units. Not necessarilly Uncompressed Raw but a way to use those devices in something other than just HD-SDI connections. A connector outputting 5k, 4k, ect. that connects to those units.

[Ray Palin]

How about a 'RED' specific, compact dual diversity receiver module that uniquely also transmits confidence recorded audio. Rather than being tied down with all sorts of hard audio cables, in and out, with the I/O modules, this module option could be a compact solution for freedom of movement loving camera operators.

The module would ideally be sold with an accompanying and reliable but compact 'RED' mixer/ transmitter device. This device would then have all the I/O audio you could possibly want, with confidence return audio transmitted to this mixer from the compact audio module. Perhaps, with one additional direct audio channel in, for on camera generic mikes.

Maybe, a slightly bigger module could do all this and transmit HD vision as well. No cables equals freedom!

[Lee Saxon]

My answer for this thread was going to be the H.264 dailies module and then they announced it. Stole my thunder! But wooooo!



Electronics, Fan, ASIC and Sensor Upgradeable(I know this is out but still have to put it)

We already have that. It's called the brain being a separate module from everything else, also known as the entire point of the DSMC design.

[Joseph Ward]

We already have that. It's called the brain being a separate module from everything else, also known as the entire point of the DSMC design.

I hear what your saying but maybe you don't understand what I meant. What I meant was individualize parts like, the RedOne with the Sensor Upgrade that doesn't cost an entire cameras worth of money for just a brain. But it doesn't matter now, I wasn't complaining just suggesting. Glad to hear about the H.264 Module also. Maybe the new module will have other codecs/features as well.:thumbup1:

[Ray Palin]

When shooting with film or most tape based cameras, it's quite reassuring to hear the sound of film going past the gate or the tape quietly moving, whenever you press the record button. These quiet but reassuring sounds are absent from all file based cameras. Yes, you can see the record light, but often when you are concentrating on the subject matter, you can forget to look to see if the record light is on or not. Could RED incorporate a reassurance sound like this that could be customised to the operators liking? It could be put in one of the modules.... perhaps the I/O module? Fun if it could be either film or tape simulated sounds.

[Paul Nordin]

When shooting with film or most tape based cameras, it's quite reassuring to hear the sound of film going past the gate or the tape quietly moving, whenever you press the record button. These quiet but reassuring sounds are absent from all file based cameras. Yes, you can see the record light, but often when you are concentrating on the subject matter, you can forget to look to see if the record light is on or not. Could RED incorporate a reassurance sound like this that could be customised to the operators liking? It could be put in one of the modules.... perhaps the I/O module? Fun if it could be either film or tape simulated sounds.

Hmmm Ray, I kind of understand what you are asking for, but it would be a rediculous feature for most of us using the camera on narative work. We've fought the very film sound for years in film cameas, as they ruin location sound, expecially on quite passages. If this were implemented it would be the first thing I and many others would disable. Which in my mind makes it a waste of Red's R&D time/money. SLRs are rife with this kind of thing. But they have no place on set. Why aren't a red light on the camera body, and a red dot in the viewfinder sufficient?

[Tim Sutherland]

When shooting with film or most tape based cameras, it's quite reassuring to hear the sound of film going past the gate or the tape quietly moving, whenever you press the record button. These quiet but reassuring sounds are absent from all file based cameras. Yes, you can see the record light, but often when you are concentrating on the subject matter, you can forget to look to see if the record light is on or not. Could RED incorporate a reassurance sound like this that could be customised to the operators liking? It could be put in one of the modules.... perhaps the I/O module? Fun if it could be either film or tape simulated sounds.

If you have the fan mode set to Auto, you will hear the fan spin down when your roll, which is a reassuringly quite sound, then when you cut, the fan picks back up. That works pretty well for me.

Tim

[Ray Palin]

Understand about the need to have a quiet camera for sound recording on quiet scenes, just know that when you're shooting a lot under tight schedules, you're looking at the subject, looking at your composition, lighting, camera settings, anticipating what's about to happen in the scene, listening to what's being said, etc, etc. So sometimes when you think you've pressed the record button, you just assume you're rolling... and sometimes (not often) you discover that you didn't press it hard enough or missed it altogether. I use to love the reassuring but quietish, sound blimped sound of film going through the camera. It was an auditory confidence that you got with it. No need to have your eyeball come off the subject to spot that red dot. With tape cameras, I often super timecode in the viewfinder for added reassurance. I know it sounds crazy, but I also know a lot of other camera operators who also prefer to hear that a camera is rolling. If the volume was selectable, you could dial it to be as quiet as you and/or the sound recordist would like. Wouldn't think that this would be too difficult to implement in the scheme of things. I bet there are plenty of camera operators out there who'd agree with me........ yes? There are some really cool types of film and or tape running sounds too... maybe this could also be selectable? Maybe it's a completely new type of sound that is specific to RED cameras... something really, really cool

[Ray Palin]

Here's another idea. How about the sound of a running 'Confederate' motorcycle, albeit only loud enough for the camera operator to hear? Not sure what that sounds like, but I'm sure it's cool. Pitch could vary as you speed ramp the camera.

[Bill Jones]

Not sure this is a module but any way.

I would like a handle, like the one that Ted had on the mock up Epic, that had a a mic built in to it. So you could have a set up like Ted but could shoot sound as well in that tiny configuration. (This is assuming that there is an audio in on the Epic brain)

[Will Weprin]

How about a fiber I/O or something to connect to Codex Digital and S.Two Units. Not necessarilly Uncompressed Raw but a way to use those devices in something other than just HD-SDI connections. A connector outputting 5k, 4k, ect. that connects to those units.

Question: I see that the EPIC will output up to 2K HD-SDI. I think that means that it's an uncompressed 2K images that could be recorded to a codex deck or something S.Two units e.t.c. Is it a 4444 signal? Could be an interesting recording option. Watch out Arri!

Please correct me if I am wrong.

[K. cromwell]

Will that does sound good... Lets see if you are right.

[DCC Erickson]

Understand about the need to have a quiet camera for sound recording on quiet scenes, just know that when you're shooting a lot under tight schedules, you're looking at the subject, looking at your composition, lighting, camera settings, anticipating what's about to happen in the scene, listening to what's being said, etc, etc. So sometimes when you think you've pressed the record button, you just assume you're rolling... and sometimes (not often) you discover that you didn't press it hard enough or missed it altogether. I use to love the reassuring but quietish, sound blimped sound of film going through the camera. It was an auditory confidence that you got with it. No need to have your eyeball come off the subject to spot that red dot. With tape cameras, I often super timecode in the viewfinder for added reassurance. I know it sounds crazy, but I also know a lot of other camera operators who also prefer to hear that a camera is rolling. If the volume was selectable, you could dial it to be as quiet as you and/or the sound recordist would like. Wouldn't think that this would be too difficult to implement in the scheme of things. I bet there are plenty of camera operators out there who'd agree with me........ yes? There are some really cool types of film and or tape running sounds too... maybe this could also be selectable? Maybe it's a completely new type of sound that is specific to RED cameras... something really, really cool

I like this idea a lot. No, the red lights don't guarantee you're aware the camera's rolling. Every 20 clips or so I find one where basically I'm wandering around blocking scenes while shooting a nice long take of the floor. It would be nice to at least hear a pleasant bell tone when the button is pressed. If it could be set to loud, it would remind crew that the camera's rolling without the prerequisite yelling and skewing the actor's focus. The "fan on auto" suggestion makes sense also. With all the LCDs and solid state everything, the familiar sounds of the technology landscape of the last 50 years are being silenced. I miss the old click/hum when turning on the TV set and the clatter of my A: drive being searched for a system disk on bootup. Out of date, yes I am!

[Ray Palin]

Thanks for the support David. Just you wait, old sounds will be groovy again. Won't they be Jarred/ Jim?

[Will Weprin]

I'm sure RED is already working on this but I just wanted to add one more request for a ProRes module that would let us edit immediately in FCP. I know that RED Rocket allows us to transfer quickly into any format, but that means we have to either have a Mac Pro on set or be limited to working on one. A ProRes module would further simplify the post process and make it even faster. While the h.264 module is a welcome addition, h.264 is difficult to work with in FCP and means that it would be limited to dailies only. I think ARRI has the right idea with their dual ProRes recording concept and their "straight to edit" philosophy and I really think we need something similar.

Keep up the good work RED!:party:

[Johan Malmsten]

Is it just me or couldn't the "cam-rolling" sound be implemented on a small headphone? That way, operators can hear it, and sound recordists stay happy.

A similair feature that I've been advocating for a while now is the old-school super8 way of recording-trigger. When pressed it records, when not pressed, no record. I think this was implemented as film is expensive and every second better be worth it. It's the most intuitive sollution I know and if that doesn't keep you from recording half-hours of floor-footage, then I wouldn't trust you with an assault rifle. ;)

Of course it's not a feature that would work where the operator can't touch the camera during the whole take. So cranes and steadies would be out. But even then a remote trigger would also work.

And on a last note, anyone ever wanted USB-keyboard&mouse host functionality? Just plug in an off-the-shelf third party keyboard and mouse for inputting all of the metadata that everyone israving about nowadays. I've suggested this before and on a feature shoot I noticed that our sound-recordist plugged in a USB keyboard to his field-recorder to input his much needed metadata. He loved that functionality even though it cost him a bit extra, so I know I'm not alone with this idea.

Sorry I don't have a suggestion for a complete module.

[noah newtown]

a rear vmount redbrick Module can be nice
For better camera Balance (redmode place)
Like EFP-cams

[Brian Petrie]

This is what is so amazing about the modular camera design. If there is a need for something, a solution could likely be made. Especially, once they get things dialed in and they allow 3rd parties to manufacture new modules(well ones that are approved). So even if there isn't a strong enough need for Red to offer a certain niche module, another company may. This is just one of many reasons why I think that Epic/Scarlet are one of the most exciting cameras ever. Imagine, in five years (other than the obvious release of the Monstro sensors) there could be options available for these cameras that we haven't thought of or integrated with technology that has not been invented as of now. Very exciting.

[Albert Astorga Zepeda]

RED Bullet Looks Module.
Perhaps it has been Requested Before or there is something similar for the brains but I have not seen it.
How about a Looks Module. Perhaps could be paired with an Application For (iPad, iPhone or Computer) or maybe implemented With current Red apps or as a Plugin for Major NLEs and with this application be able to pull a RAW frame, apply the look or Looks you want ( something similar to Magic Bullet Looks) or maybe the ability to Directly interface via USB, FW, Wi-Fi, Etc with apps such as Colorista and set up the Whole camera to work with that look.
Or if needed only the output/s on that Module and leave the Raw Footage Untouched. Oh and must be able to share the same preset with other cameras or users either via Memory Cards or Wirelessly (preferred). Such Module Must have Pro Outputs. This could be Really Useful for Live events where there is really no time for Coloring. And if you really want to impress us do it so we can achieve all of this wirelessly. Now that would be a god send.
If not may be you can implement some of it and allow us to do it via the REDmote.
I Know Scarlet will be used for live events in spite of what some people say. We plant to start with 8 to do mostly Live events. So this would be Really, really Nice to have.

[Ray Palin]

Those cylindrical handles would be perfect for cramming in extra battery power. Say you had a handle on top and at least one other, say on the left side with that most minimal Epic configuration, you could slot in two extra cylindrical lithium ion batteries for possibly an extra half hour of recording time. Seeing that Epic is jam packed with features, why not make intelligent use of these handles. They could also feature on/off switches and motor bike style swivel controls for focus or aperture adjustments. All connecting leads hidden within the amertures. The more handles you get, the more potential juice!

[Ray Palin]

The top handle could possibly have a directional mike incorporated within it. Using that handle for carrying Epic between takes, as well as on camera sound when holding the camera with the other handles.

[Albert Astorga Zepeda]

The FCC has opened up the spectrum between 50MHz and 700MHz that were previously used for television signals. that space has now been opened up for Super Wi-Fi.

The massive benefit to the spectrum between 50MHz and 700MHz over the currently used 2.4GHz is that the lower frequencies travel better through walls and for further distances. Instead of measuring your router's range in feet, Super Wi-Fi routers will be able to reach for miles. Range is the main benefit, as initial speeds will be at 15Mbps to 20Mbps.
Now that would be good enough for proxies, metadata, etc.

[Ray Palin]

Further to the motor bike handle style controls idea, it would be great to be able to define different actions to the swivel handle such as speed ramping as well as aperture and focus or perhaps even HDRx control? With the right amount of resistive spring force, this could become a very natural way of controlling these parameters for operators.

[Kevin Olsen]

Further to the motor bike handle style controls idea, it would be great to be able to define different actions to the swivel handle such as speed ramping as well as aperture and focus or perhaps even HDRx™™ control? With the right amount of resistive spring force, this could become a very natural way of controlling these parameters for operators.

I agree Ray, and to add on to this, I forsee the REDMote Pro universal wheel concept being implemented in all sorts of new scenarios, such as the ones you've mentioned. I think the convetional follow focus will ultimately be replaced by a more advanced control method, maybe via two handheld rotating grips, one for focus, the other for zoom/HDR/Ramping/Audio/convergence/etc...

KO

[Michael Hardwick]

The items I am always velcro-ing onto the Red One are:

1) A Lock-it Box.
2) A wireless receiver from the sound dept. to input an audio scratch track
3) A downcoverter to feed non-HD monitors like the XCS TB-6 on steadicams
4) An IDX Cam-Wave Wevi or a Boxx HD Transmitter.

Incorporate any or all into a module(s) and I will be supremely satisfied.

[Brian F Kobylarz]

The items I am always velcro-ing onto the Red One are:

2) A wireless receiver from the sound dept. to input an audio scratch track

Incorporate any or all into a module(s) and I will be supremely satisfied.

Add my vote. With a modified suggestion;

Internal wireless receiver docking capability.

Use the same industry standard in use on numerous HD cameras.

I have both Sennheiser and Sony units that can slide right into the body of a compatible camera. Very useful.
These receivers pull power and move the audio signals internal to the camera - eliminating cables and ensuring signal integrity.

In practice, there are other production benefits. For example, I often use frequency matched receivers on the sound cart with another receiver internal to the camera. (Sennheiser quad to a SD422 to a SD744T on the cart) I can pick any one of the 4 as a scratch track reference on the camera without adding bulk.
A lot of other applications such as recording a playback track. On multicam shoots, receivers on different cameras can capture different frequencies or match to one - it's a nice iso backup to the cart master recording.
Again, no exposed cables for power, audio - or an external velcro job.

With the form factor of EPIC, an internal slot for a wireless receiver incorporated into a module makes a lot of sense.

[Brian F Kobylarz]

The items I am always velcro-ing onto the Red One are:

4) An IDX Cam-Wave Wevi or a Boxx HD Transmitter.

Incorporate any or all into a module(s) and I will be supremely satisfied.


Michael,

Related to the wireless video transmission, are you thinking of HDSDI to feed an OB truck or switch? Or are you just thinking of monitoring. If just monitoring:

http://www.reduser.net/forum/showthread.php?t=43613&highlight=wireless+proxy

[Ray Palin]

Instead of memory sticks that hold a limited number of preset looks for some cameras, why not have an iphone docking module. The iPhone could hold the memory for numerous presets that could be tweaked on the phone itself at any time and even emailed from place to place. Easy and quick dial up of looks would be handy. Updates from Red could be downloaded through it in the field, including updates on new presets . The phone could also possibly store a low res proxy file of shoots for convenient review.

[Ray Palin]

Another possibility is the use of the iPhone as a Redmote alternative. The new module would simply be a slim line receiver of the iPhone's bluetooth commands. UI on the phone could mimmick the controls of a Redmote.

[Bob Gruen]

An I/O module that has the exact same configuration as the Red One.

Bob

[Cüneyt Kaya]

besides a offline module, a module replacing downconverters,canatrans, lockits, d-tap cables to power c-motions etc.
called cinema module

edit: cant remember i already requestet this ;)

[Ray Palin]

With Segways and intelligent electric unicycles using gyroscopes and tilt sensors in todays world, how about an intelligent shoulder pad that incorporates this technology to keep the camera centre balanced on the shoulder. It could detect when the camera has been thrown off balance because of a different lens or extra batteries and automatically adjust itself by sliding the pad back or forward to get the centre, balance point. Great if you're on the run and don't have tweaking time to adjust manually.

[Ray Palin]

The 'Easyrig' company have a nice looking Cameraman's jacket, complete with extra pockets. It would be great if Red designed and sold their own Bomber Cameraman's jacket, with pockets big enough for Epic remote, batteries, SSD cards, etc. It would be a very hot item and it would be great to get a special edition of one of these with every Epic purchased! :-)

[Pawel Achtel]

This camera module consist of 4 slots allowing insertion of 2.5" SATA spinning media or SSDs similar to the RED Station 2.5". The module allows formatting all of the discs in RAID 0, increasing their speed up to 4 times. For example, we can insert four inexpensive 500Gb 2.5" notebook drives. With 2Tb onboard the cost of media is about $400.

The module can work stand-alone (and stack onto the RED STATION) or can be connected to the camera (in one block) or can use RED SATA cable (the same as Red One LEMO HDD) to separate the brain from the storage.

Multiple modules can provide mirroring and record simultaneously for data safety.

The module would allow to calibrate and test the maximum speed of the media for each set of four HDDs and warn of a possible data loss when using third party 2.5" media.

[Shane Betts]

Teradeck Cube in a module. And a wireless audio i/o module. And (hoping this won't be necessary) a lockit box module.

[David Battistella]

Here are two module ideas for you:

1. UNIVERSAL BATTERY MODULE with a V-Mount adaptor, so we can just mount a battery to the back of the camera. (or do a twin REAR REDVOLT adaptor)

PS: I number 1 I know you might say that that creates a problem REDMOTE, but I think that the REDMOTE is cool, but not always the most practical thing.
-How is is powered?
-Am I going to have to worry about changing batteries on it?
-It adds a "consumables cost"
-how do I hold it when I am operating the camera?

The touchscreen seems to be the goto thing now. I'm feel like I'm not going to be to concerned with a REDMOTE to control the camera.

2. EFP MODULE with HD-SDI out x 2, full XLR IN x 2, TC in & out, genlock in & out. Headphone out.

With these two modules you would have all of the functionality of any competing EFP style camera on earth, while still capturing REDCODE. I can not see why anyone would buy anything else of the camera could, with these two simple modules, be transormed into having all of the functionality of an EFP camera.

[Mark L. Pederson]

I'm all about the power splitter module. This will save so much "mess" -

I want a small module that will take:

A) power INPUT from RED BRICK
B) power INPUT from 4-pin XLR

output -

B) two 3-pin Fischer
C) two P-Tap
D) two 4-pin lemo
E) one 4pin XLR

I was also thinking it would be cool if you could attach this IN FRONT of the ProIO module and pull power from the RED VOLTS in the ProIO - but I'm not sure how much current you pull from those - if it's enough to power lens motors, cinetape, etc. etc. - but yeah - would be cool to be abel to use it "untethered" with ProIO - or - BRAIN ONLY with a cable to RED Brick or block if preferred.

[JanneJansson]

I do nature and doc filming allot and often really cut off from civilization. Power and data are always issues.

I like a "back-packer" module for both power and data. The module converts 5-50V to 12V for camera, and also enable USB-disk recording or downloading. If module is being feed some power the redvolt battery inside camera/module be automatically charged.

[Tim Hole]

As funny as it sounds. A dummy module that could be key or code locked if needed. For storing Media (mags/cards) safe place for the redmote, iphone...whatever you like...even just an extension for stability...

This may not be too good for running around and some situations. Zero rattling!

Ooh! And you could call it the REDHOLE (instead of black hole get it!!) and name it after me (-_~)

[Obin Olson]

The perfect one for me would be a camera motion recorder.'forget all that motion tracking in post with the problems and complications. Record camera motion with each take!

[AnthonyParisey]

A tethered module to a new redrocket for studio work.
It could send R3Ds during the take so you already start to work with it when the take is over.
I think everyone on set could save a lot of time.
It could be great with Storm.
If someone is familiar with Capture One Pro it's exactly the same functionality as the tethered shooting mode.
When the shot is over you can start editing, soft color grading, even light compositing if we could connect it to something like a Scratch.
The media should be recorded to the SSD as well for security of course.

[Jesper Sichlau]

http://3.bp.blogspot.com/_9RbQAjwmNwQ/TTcOU2zesYI/AAAAAAAAAGY/vr_11ewe54o/s1600/Module%2Bidea.jpg

My perfect module would be some kind of a combinated solution. I've made this little sketch to show how I would like it to be. Basically the idea is to have an end-module with oblique lines, kind of what the SI-2K look like and with a RED-brick attachable. The module should also include audio, which would be either XLR or mini-XLR and perhaps a few more things - I'm not that much into sound. Under the module there should be shoulder plate connected to a baseplate in order to do handheld camera-work. The shoulder and baseplates might be add-on's.

[Mike 'Fireman' Ross]

It's not MY perfect module, but from past experience, as RED moves beyond the core movie-making fraternity there are probably some potential customers who would really like an encryption module, to strongly encrypt everything shot, on the fly. Probably mostly with three letter acronyms for names, and probably willing to let you name your price.

[Jon Thomasberg]

An SLC NAND-based buffer module that is directly piped via contacts to the multi-lane PCI bus of the brain, thus bypassing the southbridge bottleneck of SATA. It would act as proxy/buffer to ensure no dropped frames.

BRAIN>RED PROXY I/O>1.8" SSD



and +1 for the Encrypted bootROM. But if that is too hard to accomplish at this point, you could always include a boot runtime sequence password/gesture prompt. Doesn't need to be elaborate, just something to ward off the would be thieves. Perhaps a reprogrammable button sequence, with 3 programmable memory slots: 1 master RED sequence, 1 owners sequence & 1 renter sequence with a lockout for, say 5 or 10 incorrect guesses, after which only the MASTER (RED) unlock code, or the OWNER code will unlock. The renter's sequence being readily reprogrammed and unlocked by the owner supplying the owners sequence "think: 'sudo passwd renter' "

GPS / Network module: GPS module could serve dual-pupose for geotagging metadata for each scene + act as lojack for the cam. If the RENTER account is lockedout, send syslog traps to central RED server proving serial of cam and global coordinates with GMT timestamp.