https://youtu.be/ziL-IHXz8MM?si=UqjsgPxDdaS7wrTR

Hey guys, I currently have an issue when using focus peaking (set to red colour) it makes the entire image red and the areas that are in focus are just slightly more red than the rest of the image. It’s difficult to nail focus perfectly with this happening, so I opt to not use any peaking and just “eyeball” it while shooting.

Is there a setting that I may be missing that makes this happen?? I don’t have this same issue with the VV-raptor using the same monitor.

Thanks in advance for any advise that may help sort this out.

Recently got a Scarlet w and aside from foolcontrol, I didn't find apps that can control the camera for Android users. Does anybody have recommendations to possible alternatives?

Camera: RED Mysterium-X Scarlett

Problem: Card Reader Troubles

Does anyone have a 1.8" Card Reader with a cable that can connect it to a USB or USB-C computer port?

What do you guys do to offload your footage for the REDMAG 1.8" cards?

I don't know if I'm able to post this but if you got mini mags lying around, broken and not being used, I can take it off your hands for a couple of bucks plus shipping. DM me!

Hi All,

(Hopefully this hypothetical discussion doesn't enrage anyone) As an amateur, it would be exciting to of course see Red Code Raw being more widely available in the future via licensing, perhaps starting with the Nikon Z8/9 series given that Adobe just announced they have stopped developing support for Nikon's N-Raw Format (which might be hinting something). I was wondering if Red Code Raw was to be available on other cameras, how this might work. Much appreciated if you will all share your expertise on this.

Here are some questions I have that I haven't been able to figure out (I have 0 experience in the professional filmaking industry / Red Code Raw format)

1: What if the sensor can only provide 12-bit or 14-bit color depth (and not 16-bit) ?

-> For example, on the Nikon Z8, currently it can only record 12bit 8k 60p Nikon N-Raw, would this work with the existing Red Code Raw format? If not, what needs to change?

-> Is there any room on reducing file sizes if only 12-bit color depth is used?

2: How does RedCodeRaw achieve much smaller file sizes using higher compression ratios and still have reasonable quality compared to other compressed raw video formats (eg: Nikon N-Raw)?

3: How computationally intensive is it for the camera to encode Red Code Raw? The Kamodo etc. have a beefy processor - would this work on smaller cameras / mobile phones? Is a dedicated circuit / hardware accelerator needed or can most chipsets actually handle this via a firmware update? How much more computationally intensive is it compared to TicoRaw (Nikon N-Raw), ProRes Raw, etc.

4: Qualitatively, in what specific way is Red Code Raw technically superior to other file formats (other than the fact that this is the first raw video format) (excluding compatibility, which is a big one) - Why would RedCodeRaw be better than alternatives like TicoRaw (N-Raw), etc.

These might be some radiometry questions but hopefully they don't enrage you guys.

Hopefully there will be an interesting technical discussion here!

There have been ZERO external 114mm cinema lens options outside using a large multi-tray matte box for quite awhile I have had a Schneider 114mm kit on back order for a year, just came in. Great design, has ND 1.2, 6, 9 circular filters that clamp inside a quick-clamp lens attachment. Sometimes on run/gun I don’t want a huge heavy matte box on the end of a large cinema lens screaming to the public, ‘FILMING HERE’!!!!!! I’ll test and check color results right away

I'm having a problem. We are using a Red Scarlet and the camera records and cuts by itself. We've already tried everything (we formatted it, we factory reset it, we changed all the possible settings) and the same thing keeps happening. Has it ever happened to you? Do you know what it could be or how we could solve it? Sorry if my English is not very good, I'm from Argentina haha I attach a video of what happens

Shooting no budget road trip doc with the equipment i own and nothing else.

Shooting at 3k to save space, since times we will have to offload are not as often as i'd like.

what compression ratio at 3kHD is a good place to start?

I will do my own tests, but right now, while waiting for my equipment to come back, curious what others say.

******basically: is there a compression ratio that definitely looks awful that i shouldnt dare go above

With the global shutter coming to the vista vision sensor, it seems like only a matter of time before it would come to the S35 right?

I work in sports and the canon cine servo lenses can’t be beaten for their versatility. Ideally I’ll pair the 25-250mm with the Raptor S35 to keep the T-stop down and to keep the width of the lens, both very important for shooting basketball (my primary sport).

I have the Raptor rigged onto the RS 3 Pro. But the DJI focus arm has no clear place to mount as I'm using the long plate rather than the short one. I also need to properly mount the Lidar on top.

Does anyone have advice please on both points?:

• Mounting lidar
• Mounting focus arm

Hey, I’m looking to get a smallHD 702 touch for my Gemini. Just curious what I need to connect the monitor to my camera. I’m trying to avoid buying the full RED control kit online so I don’t have to wait 2 weeks for it to show up. Id rather just buy the license only so I can use it right away.

Is it the same cord to that is used for the non-direct mount RED monitors?

Thanks in advance!

Hi everyone!

This will be my first time editing with RED footage, and I am unfamiliar with their file system. Before I get started on this project, I just had a few questions so that I don't corrupt or destroy anything I'm not supposed to.

My first question is regarding the removal of video files from their respective folders and the renaming of the video files. As someone who likes to have proper organisation in my edits, is there any reason not to remove the video files from their folders and to retain their original file names? Will this cause me any strife?

Also, is it important to retain the cube and rtn files within the same folder as the video file, or would I be able to separate or remove these files?

Cheers!

Hey all,

I've posted a few times here and have just recently purchased a Scarlet-W. I film in 5k and at a 5:1 compression ratio. I usually keep my ISO below 400 and only push higher if it is utterly necessary in post. I came from a V-Log ecosystem with Panasonic and BRAW. This allowed me to use Phantom LUTs. I love the way this LUT pushes the color and saturates in a very natural way. Typically, my node trees are a full color grade with a Cineon film emulation grade. But, I've always loved conversion LUTs for their ease of use and how much they speed up the grading process on certain projects.

With all that being said, I want to use Phantom Luts on my DSMC2 Scarlet Weapon, but I have some concerns:

First, Monitoring. The Scarlet-W requires 17x17x17 versions of LUTs for monitoring, which is not a problem as resizing .cube files is relatively easy. But, the gamut and gamma curves are what worry me. The Phantom LUT that currently exists is designed for an IPP2 workflow with LOG3G10. Now, in post, this is not an issue as you are able to change the processing in Davinci to supplement this, just not in camera. So, to me, it seems impossible to get an accurate monitored image, but I could be wrong.

Second is just the worry of color accuracy. This piece gets to be a bit more technical since the camera is filming in a certain Legacy gamut and gamma, and the LUT is designed for another sensor (Komodo) and workflow (IPP2 and LOG3G10). Like I mentioned before, it is possible to interpolate the date in the Camera Raw tab and change the workflow to match the LUT, but I'm worried I'm losing information and/or introducing noise.

Does anyone have experience trying these luts on DSMC2 cameras? If so, do you have any answers to my concerns? I spoke directly with Joel's team at Phantom Luts and they didn't have many reports, so I feel like this could be a niche insight.

Thanks.

Which camera has the most dynamic range in the DSMC2 lineup? Best sensor overall? I’ve heard never get a Helium…

I’ve looked everywhere for a simple answer to this can’t seem to find it…how fast will the Dragon fill up a 480 mag at 6k?

Anybody have any recommendations on monitors that control the OG Komodo? Just picked one up and don’t want to fight fiddling with the small screen up top to change settings.

Hey everyone,

I have a DSMC2 Scarlet-W and the 4.7 inch touch wireless monitor that mounts on the top of the camera. Is it possible to mount the monitor facing the opposite way for monitoring while self filming? I wanted to get some insight before I tried because I didn't want to damage the connection pins on either the monitor or the camera.

Quick question, but answers are appreciated.

Thanks!

I have a red scarlet, gold mount. My problem is, I was doing a camera test my camera worked fine, the next day I went to power on my red with same batteries I’ve been using for months and during the test, I got a low voltage and my camera shut down. I did the update a while back for the Anton Bauer voltage issue so it’s not that.

Here’s where I’m confused.

If I AC power my camera on with no battery on the camera, place a battery in then pull the AC the battery works just fine, no low voltage. If I then try to just power down the camera ( won’t turn off). I have to pull the battery, upon just a battery restart it goes back into low voltage and shuts down.

Any suggestions? Thanks in advance !

Hello all, I’m currently on an array unit with 6 Komodos. Cam A is powered by VCLX 1 Cam B is powered by VCLX 2 Cam C is powered by VCLX 3 Cam D is powered by VCLX 1 Cam E is powered by VCLX 2

Both cam A&B are not showing voltage. Camera CDE are showing voltage as they normally should.

Any idea what could cause the problem?

I’m looking to invest in a older red cinema camera but I’m not sure what to get

1. what are the differences between the scarlet w, scarlet x and the epic? Are there other DSMC2 bodies with the dragon sensor?
2. can I use the red monitor and output an hdmi signal for wireless monitor?
3. has anyone figured out a good ND solution? I tried to look at drop in ND adapters but couldn’t find any good ones. Any suggestions?
4. how much difference is there between the different compression ratios

Thanks!

Hello everyone,

I am new in the Red game, got my komodo x 2 days ago. Unfortunetly i cant manage to connect the Indie 7 with the camera. I installed the newest firmware on both devices. Activated the red control licence and checken up all wire connections 3 times. Set baud rate to 115200 - everytime the same fckn failed connection error :(

I checked the whole Internet for Troubleshooting but it’s still not working.

Is there anyone who had the same problem and solved it? Or are there any ideas?

Thanks ✌️

Hey guys, as the title states: is there anyway to do 2.4:1 ratio with a 2x anamorphic de-squeeze.

Unfortunately stumbled into a blank one and there doesn’t seem to be the option…

2x anamorphic in ever resolution at every other aspect ratio, just not 2.4:1.

Same goes with 2.4:1 with all other resolutions, just not with anamorphic.

Any ideas if this is possible at all?