My wish list...

[SeanAzul]

Dump ISO - I want anything or everything to be exposed properly or how I tell decide.

High speed shooting = Imagine shooting video like speed and allowing me to choose my frames at any point.

[rawfa]

Thinking reasonably, I would be happy with this image quality: http://www.vimeo.com/1723303 , full hd, large sensor with loads of dynamic range, lenses compatibility with other brands without the need of an expensive adapter, high quality slow motion, no repugnant jelly belly effect from shaky movements like the D90, around 1k price. All these things were already more or less done by different companies, but they need to be put together and perfected.

[Aeron]

I want two of these plenoptic lens with two Scarlets cough, cough, ohh I mean two Red DSMC DSLR. Light Field Digital Computational Cinematography!

http://gizmodo.com/gadgets/3d-magic/...%5D-308659.php

And this, like NHK Axi-Vision Camera for Virtual Studio System. Z-cam! Together!:pinch:

http://www.nhk.or.jp/digital/en/tech...pdf/01_2_3.PDF

This is amazing! I love it the possibilities are endless u can do so many cool things with a zd depth pass in 3d and compositing. After Effects will surely have amazing integration aswell. Adobe I love you!

RED if you can bring this lense to market! the effects industry will beat your doors down.

[andy batt]

Why not self-cleaning, like Canon is doing?

Because Canon's self cleaning doesn't work. I'm sure it helps, but it requires manual cleaning.

13. lower noise for tungsten light:
Okay, here is a complicated issue. Tungsten light is blue-deficient, so the blue channel is naturally "dark" on the daylight-balanced sensors that RED creates. The "built-in" solution is to stretch the blue channel to meet the other colors, but this results in slightly more "noise" within the channel, as you pointed out. The alternative is to use filters and increase the exposure to compensate[snip]...

And I for one would prefer that RED stick with daylight-balanced sensors.

I'm thinking that the sensors are daylight optimized, but with RAW captures these chips are not daylight balanced. The problem is pretty much as you stated - but since this is a wish list, and RED is like Santa Claus, I'm hoping they can do some magic and tweak the blue channel response.

[KETCH ROSSi]

What can I say Peter,

great list and frankly been the kind of guy that doesn't involve him self to much in the deep technical aspects of electronic, I fill great that does like you are here to request this kind of important features.

As I must have the latest in Tech, I go creasy in the middle of the Big boy's wars, and couldn't be happier of RED coming in to the game, but for me as I pint it out in Jim's thread, it is important not only to have a Scarlet version of the "DSMC" but also a Epic version of it to be used in the professional field of High Fashion and Glamour Photography were the requirements are for much larger files, some time larger then what even my 1DS III @over 21MP can offer, and in fact thinking for this reason of the Hassy H3D II 50MP.

Will see what pops out of the BIG RED heat soon in off!:sorcerer: :)


ciao

[Daniel Browning]

almost no noise at 64000

Part of light's very basic nature is to fluctuate according to Poisson statistics. Therefore, it will never be possible to reduce this, which is known as photon shot noise. Today's technology is already with 1-3 stops of 100% quantum efficiency, at which point no further improvement will be possible.

Read noise, on the other hand, is an area where it is theoretically possible to improve.

[fruitsandvegetables]

wow..I am excited
My wishlist

-price range around 2k but definitly under 3k

-built-in timelapse mode

-adapter ring to use with older manual lenses like Canon FD(uber adapter kits for all the mainstream still camera lens)(they are so cheap)

-programmable option to take a sequences of different exposures in one click aka HDRI image(could be useful for making HDRI sphere)

Now this is a mind blowing feature

-laser measuring device built into camera for image based modeling
and this is how it's gonna work
1.take first photo with laser mark on
2.save the distance in meta data
3.take second photo of same thing without laser mark for camera projection
4.rebuild the 3d scene
5.profit??

-compact design .make it as small and light weight as possible within reason.I don't want big and bulky design to impress me.I want nice and tight.

I will come up with more later.

[Daniel Browning]

25-100 megapixels

By the end of 2009, I think 50-100 megapixels would be enough to blow my socks off, but 25 MP would be OK too.

Users who want less noise, higher dynamic range, and better SNR can simply resample down to 12 MP.

Big sensor!

The RED ONE and MONSTRO are Super35-sized. All your lenses throw Super35 image circles. That would lead me to bet that DSMC will be APS-C as well. But would you consider doing a larger sensor anyway? There is less photon shot noise. Lenses for the 36x24mm (still 35) format are available in wider variety than any other format. The value is usually pretty good, too.

The really obvious stuff

• The more lens mounts the better (Canon, Nikon, etc.)
• Dynamic range, quantum efficiency, SNR, full-well capacity, etc.
• 900k+ dot display
• Under $4,000 would be nice.
• Good ergonomic design with lots of external buttons and controls.
• Intervalometer.
• Eye-level viewfinder.
• Most of the features of the D700 and 5Dm2

Sensor temperature gauge

One feature that would be very useful for long-exposure, timelapse cinematography, and astrophotography would be having easy access to the temperature of the sensor at the time of exposure. Dark frame subtraction must be correlated with temperature, so knowing what that is would allow the selection of proper dark frames from the library in post production.

Integrated Darkframe Feature

For the times when the temperature is variable, or you don't have (or want to use) a library darkframe, it would be nice to be able to take darkframes using timelapse controls on the camera or in tethered laptop instead of being required to put the lens cap on. For a 180-degree shutter, it would be nice to be able to use the closed-shutter time to take the darkframe.

Optional thermoelectric cooler

It would be nice if there was an option to easily add a sensor cooling unit. Since dark current (or thermal noise) and hot pixels, and kTC noise (a tiny bit) vary with temperature, having control over the temperature would give much greater flexibility in reducing these noise sources, or just being able to use a smaller dark frame library (two or three temperatures of X shutter speeds each).

It will require a lot of power, which leads me to my next wishlist item.

Optional long-term battery solution

Timelapse shooting can easily go 24 hours non-stop, so it would be nice to have an optional long-term battery solution, no matter how much it weighs.

An A/C connection option would be nice.

No shutter/mirror/prism assembly

I think RED ONE has proved that EVF technology has advanced enough to start replacing OVF. This would allow the flange focal distance to be as small as desired.

Built-in filters

With the OVF out of the way, it would be nice to use some of that space for something important, like filters. A couple ND filters, infrared filters, UV, 80A, and a few magenta filters. The magenta would increase dynamic range and reduce noise in many common outdoor lighting situations. Camera and/or software control of the built-in filters would be ideal. Probably limited due to flare/focus issues.

100% live view

This makes it much easier to achieve critical focus in some types of photography. Peaking would be a bonus. Depth of field preview should be available. If there is a mirror assembly, please allow for mirror lockup during composition when using live view.

Shutter lockup (not MLU) live view

For extremely sensitive mount situations (astrophotography, macrophotography), even the minute movement of the sensor shutter itself can cause vibration. Therefore, it would be nice if there was an option for shutter lockup in live view mode. That would require an electronic first curtain. The shutter vibration would still occur, but only at the second curtain where it doesn't affect the image.

Swing and tilt display

One that can swing and tilt to any angle for waist-level, ground-level, and awkward hi-hat mounted positions.

Black and white eye-level viewfinder

I would prefer to have the eye-level viewfinder as black and white, to get triple the resolution of a color LCD. Peaking. I don't know if there are any being manufacturered that way anymore. If not, then a color viewfinder is fine.

Auto ISO

The photographer chooses the aperture and shutter, while the AE chooses the ISO. In the split-second it takes me to switch from 200 to 1600 on my DSLR the shot is gone.

Beginner Auto ISO programming

Allow the photographer to set a maximum ISO for use during Auto ISO.

Advanced Auto ISO programming

Allow the photographer to have full control over the decisions made by the camera AE system through the use of multiple priority levels. The user makes an arbitrary number of priorities and AE choices at each priority:

• first priority: shutter 1/250 or faster
• second: aperture f/8 or narrower
• third: ISO 3200 or lower
• fourth (if at 1/250, f/8 and 3200 already): f/5.6+
• fifth: 1/125 (absolute lowest I'll go, only if at f/5.6 already)
• sixth: ISO 12800.

3-4 fully programmable modes

For example, mode one is set to use full-featured auto ISO above with flash and custom white balance A. Mode two is set to standard manual control and fixed ISO with no flash and custom white balance B, but the AF-assist beam is enabled. Mode three is aperture priority, daylight white balance, -1.3 fill flash, etc.

Allow the choice of analog, digital, and meta-data gain separately.

Analog gain is done before the ADC. Digital gain is done after the ADC, but before writing the JPEG. Meta-data gain is never done at all, it's just a suggestion in the metadata.

If the camera provides analog gain, allow for the use of digital and metadata gain for the same range. It gives you the same effect as using low analog gain with negative exposure compensation, but "ISO 1600 metadata" makes more sense than "ISO 200 analog and -3.0 EC".

Provide a wide range of digital gains

Take a high key shot and resample it to 256x144, then ratchet up the ISO until the noise is unbearable. That's probably the maximum that anyone would ever find useful, that's the level that should be allowed in camera. I can do ISO 56,000 on my meager Canon 20D, so you ought to allow ISO 205,000+.

Some good lossless compressed RAW

Allow for additional (lossless) automatic compression of low exposures. All 12-16 bits aren't needed to record an ISO 12,800 shot losslessly, for example.

Lossy RAW compression

You should definitely allow for an advanced lossy RAW compression. It would be better than resampling to smaller sizes for uncompressed recording.

The sRAW solution Canon came up with stinks. A quarter of the resolution for only a tiny increase in space savings? RED can do a lot better than that.

Consider the openraw format

It's probably too limited for your purposes, but I thought I'd throw it out there.

Add support for your raw format to dcraw.c

It would be a nice gesture. :-)

Don't sell the ADC bits snake oil

RED ONE records an apprpriate number of bits from the ADC, just enough to capture the dynamic range of the sensor. Don't be wasteful with internal processing capacity and flash storage space like Canon is with its faux 14-bit data.

User-upgradable memory

Maybe it can ship with a two-gig DDR3 stick in one slot, and another slot is open. People would want more pipeline capacity (longer burst mode, more flash card buffering) can pop in another DDR3 stick (perhaps even after a year or two).

RAW RGB combined with srgb review

Raw RGB histograms and zebras should be available for overlay even against a white-balanced aRGB review image.

Include all the dark pixels in the raw data.

Let the raw conversion benefit from advances in pattern noise removal algorithms that utilize the dark pixels.


Don't clip the blacks in RAW like Nikon

You already amplify your black by 50 ADU in the RED ONE. Keep up the good work! Elevating those levels will make sure that all the read noise patterns are recorded fully, which makes them much easier to remove.

Truly RAW RAW

Don't be tempted to use noise reduction in high ISO like Sony did, even though it will mean less sales because of consumers who don't know the difference between software noise reduction and low noise. Of course, double-correlated sampling and other hardware noise reduction is unrelated.

If you record multiple aspect ratios, the default behavior should be to indicate the aspect ratio (or crop) in metadata, while the full image is always recorded. There should be a second option to allow some users to actually record only the desired area, to save space, frame rate, etc.

New Lenses

If you're going to make new lenses, please go fast and wide. My favorite is the Canon 24mm f/1.4.

HDR assist

Assist the photographer in shooting High Dynamic Range photos by allowing him to setup two or more different settings, then taking all the photos in rapid succession. E.g., four shots with four different shutter speeds, all taken in less than one quarter-second. Metadata could indicate that these are to be processed as a group for High Dynamic Range.

In-sensor HDR hardware

I know there are hundreds of patents on various CMOS HDR hardware designs. A lot of people think these existing designs work pretty well. Consider doing your own?

User-editable firmware

Allow users to develop their own firmware to run on the camera. CHDK shows how useful this can be.

Open Source Firmware

Even better than letting us write our own is letting us improve yours.

[PDBreske]

I'm new to this site, but not new to photography, so I wanted to add my two cents:

While I love a big, bright optical viewfinder, I think EVFs are the future. A mirror is just too big and slow to work at the kinds of speeds we are asking from this new camera. Plus, it makes the camera big. If an EVF could be made to provide the highest resolution possible - something impossible to distinguish from an optical view with the naked eye - it would be a boon to photography. Just think of seeing the exact image you will capture, corrected for white balance, depth of field, dynamic range. Of course battery consumption would be an issue, but battery designs are getting more and more efficient. Perhaps and "eye-start" system that would turn on the EVF only when your eye is peering into the camera?

Contrary to some other requests, I don't want it to be big and imposing. Nor do I want it to be too small. The size should be "just right." People with average hands should be able to manipulate the controls without fumbling, but it should also be hand-holdable for long shoots with relatively long lenses. Unlike cinema cameras, still shooters are more prone to work without a tripod and a camera with a 70-200/2.8 lens attached is heavy. While some heft is good for stability, there is a trade-off.

In-camera stabilization is a fantastic thing. Any lens could be used and gain the advantages of the system. This is probably the hardest thing to design as it would have to "talk" to every type of lens to calibrate the sensor-shift mechanism.

I think a full-frame 35mm sensor would allow for the greatest range of available lens use, but a square sensor would be fun to shoot with. You wouldn't need a vertical grip option!

I tend to like rugged industrial design, but for something that is going to be in my hands for long periods, I want a nice, smooth, ergonomic shape. As stated above, still shooters handle their cameras off the tripod a lot, and the design of the Scarlett looks like it just wasn't made for the hands of a human. Take note of Minolta/Sony SLR ergonomic design - these cameras are a joy to hold and operate.

I would like to think that you guys could perfect an electronic shutter, and if so, give us show-stopping flash sync speeds. I know some have asked for speeds up to 1/1000sec, but why stop there? Without moving parts, an electronic shutter could do much better than that.

You'll notice I haven't asked for much in the way of motion picture capture. The truth is, if I want a video camera, I'd buy a Scarlett. Having the ability to capture very high burst-rate sequences is a nice feature of a still camera, to be sure, but shooting a two-hour feature film is not what a still camera is supposed to do. I'm sure it can be designed to do that, but that would just add weight, complexity and cost to what could be a wonderful tool for the still photographer. Don't mess it up with so many bells and whistles that only the elite can afford it.

[RED-Tank]

A very small request,

Is it possible during the motion-recording, I can have an option of 'canceling' the recording if I am sure that is the very bad take.

I understand in firm days, we sometime need a lot of 'NG' to get the best shot because once the firm has rolled, you can't roll back or re-use.

But it is digital era now, won't it be nice if we have a cancel button during the recording.

This would be really helpful for event shooting as well when someone suddenly block into the view just when you want to record the scene.

I understand you can always remove it from the thumbnails later, but that is extra step and take out unnecessary process time (perhaps).

I am asking this because most of the DSLR today always have an option of showing 2-4 seconds preview immediately after take, give you a chance to erase the file if you don't like it. Can RED do the same for the motion clip in DSMC ?

Thanks.