RED EPIC

[Subhadip]

More than anything, Jim Jannard makes these cameras for himself, and makes it available to the largest userbase possible. He's an avid (and talented) photographer who was simply disappointed with the state of the digital cinema industry with small-sensor 1080p cameras selling at six-figures. As we know, professionalism has very little to do with artistic expression. Perhaps it is only fair that for a change, a company listens to amateur filmmakers than established professionals. I don't need to go through the history of cinema to find that some of the most visionary filmmakers struggled to make films. That said, I wouldn't say they don't listen to "real" filmmakers. Apparently, Soderbergh had extensive feedback from filming Che on an early prototype, and much of his feedback was instrumental as we see in the RED One today. Testing in labs is one thing, actually shooting a film - completely different. As well as the "big names" mentioned earlier in the thread.

The lack of an optical viewfinder is a real bummer, not just in the RED but also several digital solutions, but it seems most prefer high-res EVFs and large LCD monitors these days. Nothing like really seeing and feeling what is captured though! At the same time, there's also a great practicality in seeing your image as it is captured. Not to mention great conveniences of the future like touch-focus tracking. I am skeptical to how well those will work, but the technology can make impossible things possible.

I think Alexa's great success will lie in the fact that it is a serious film camera alternative. It seems to look, feel and work much like a film camera, with the conveniences of a digital camera. The RED Epic will be some kind of unprecedented, alien, gizmo-box, though technically superior and with such features never see before, will be too unfamiliar for people familiar with film cameras. This surely has a lot to do with Arri's experience.

[MarcVanOsdale]

I think it's interesting that despite all of this talk and the fact that all of these big name directors have been shooting on Red, there has yet to be one picture shot on the Red that has been nominated for an Oscar for Best Cinematography. Even more interesting that for the past two years, the Oscar has gone to films shot on high end digital cameras....captured at 1080p, and 2K (which is basically just 1080P for snobs).

Red has essentially been thrown into the spotlight by several embellished numbers and this absolutely ludicrous claim that "Oooh, but just wait until you see what Red comes out with next year....its gonna change everything", give me a break...in 100 years Slumdog and Avatar will still be visually mind blowing...and films like "Beyond a Reasonable Doubt", will still look like shit.

[Peter Matthes]

There is little doubt that Red is a force to be reckoned with. They certainly make a camera that can already deliver the goods.

*"District 9" was nominated for four Academy Awards in 2010 (Including Best Picture)
*The 2010 Academy Award for the Best Foreign Language Film was awarded to "El secreto de sus ojos".

... Not to mention the long list of commericals, videos, episodics, and short form projects now being shot with the Red One.

I think a lot of people would have liked to have seen an optical viewfinder (option) for the Epic camera, but I believe that the final decision was made based on cost to consumer. I have heard that this type of option would have more than doubled the price of the camera. It certainly did for the Alexa line.

I firmly believe that, right or wrong, one of Jim Jannard's main objectives is to make a high end digital cinema camera that is accessible to almost anyone.

Most importantly, I think you need to keep this in mind. The Oscar for Best Cinematography is not awarded to a camera. It is given to the man or woman who sits behind it.

[MarcVanOsdale]

Thank You Peter. So how about everyone stops making all of these pronouncements about how resolution and RAW are the foundation in forming a quality image....

[koltron]

I have no interest in standing by a high res. monitor at a distance from the action.

Roger, you are the man!!

-k

[Marco]

Have some fun:

http://prolost.com/fetish/

It is an article about the technical or better lifestyle gurus of our period

[Subhadip]

Have some fun:

http://prolost.com/fetish/

It is an article about the technical or better lifestyle gurus of our period

That was a fun read. Jim Cameron is a supporter of 48 fps too.

[juan namnun]

an optical viewfinder will become the norm on high end films; as its a necessity on certain not stressing situations: (a fine conversation; and important scene by the beach,talking actors with people moving on the background), as more and more cinematographers would ask for it...then again,for shooting inside a moving car, or people shooting guns at you, or some dancers walking out a car and start dancing between moving cars and peasants at the street the normal(and expensive) red viewfinder its enough( talking from experience)

[bkparadox]

Not to burst anyone's bubble but Fincher's upcoming, "The Social Network," was shot on RED mx, and it looks pretty darn good. Normally i immediately notice if a film was shot digitally. This time I did not and didn't find out until after watching the full trailer that it was in fact shot entirely on the RED with mx, as well as portions of The Lovely Bones that Jackson shot himself. We shouldn't be so quick to dismiss their efforts. While I love the look of the alexa, it is cost-prohibitive to someone like me, whereas the RED scarlet is not. Or even the Epic, since that's the one on the table right now.

[Marco]

I think, "The Social Network" looks terrible. It has the same problems, than any movie shot on Red. Not good looking colors, problems in movement and so on.

I saw the trailer on my Macbook, in a normal cinema and on a giant IMAX-screen, everytime the same effect, that we start to discuss, what Fincher likes about the look. His previous movies shot on Viper are better looking. Remember the days, when Fincher and his DPs used 35mm? "Fight Club" has great cinematography.

[Roger]

I agree that the trailer for 'Social Network' looks rather odd. However, trailers can be deceptive!
I do hope that someone designs a digital camera with an optical finder. I have been in contact with Arri about this. As far as I am concerned they have a stunning product with the Alexa that is only compromised (but compromised in a big way) by a really awful electronic viewfinder. Even the Red has a better finder! An optical finder is the only real solution.

[Filip Stojan]

Dear All,

Pirates of the Caribbean 4 3D is currently filming with RED ONE M-X cameras by Dariusz Wolski, ASC. BUDGET: $300 million

"We tested ALL the digital camera's available and against film and we chose the RED M-X for Pirates of the Caribbean 4. We have had no camera problems with the RED ONEs and we have had the kind of support that is above and beyond the call. We didn't know what to expect when we started with 13 RED ONE M-X cameras (supplied from Panavision), but the cameras are performing flawlessly under extreme conditions and we could not be happier. Thank you to the people and the incredible support from both Panavision and RED. If we had to make the decision again we wouldn't change a thing." - Dariusz Wolski, ASC

- August 4th 2010.

THE RED ONE M-X cameras were chosen over ARRI Alexa for Pirates 4 !!!


Cameron has mentioned doing his next project at 5k 48fps 3D !

Don't forget that the EPIC is 5K 120FPS camera and it has 16-bit processing and also HDR option. EPIC will give you TRUE 4K resolution or even more! I am impressed with 4K ARRILASER prints with RED ONE Mysterium (OLD SENSOR).

There is a new RED BOMB EVF which is far better then the older one... Available in a few weeks or less.

i like to use LCD 9" instead of viewfinders. Its much easier to pan camera and handheld work. OVF is a great thing but its not necessary in my opinion.


Dear Mr.Roger,

here is one frame of the RED ONE Mysterium (OLD SENSOR).
It's a 4K JPEG file.

It was graded on Lustre in 4K and regrained at the end. I shot it with fantastic Optica Elite S35 MKIII lenses (200 lines/mm resolution) . This frame is shot with 75mm T1.3 at T4.

Do You have any complaints?



Please take a close look at this frame PIXEL BY PIXEL.

BTW this frame is taken from motion.

[Marco]

"Pirates 4" is shot on Red, because the great Bob Richardson secured all available Alexas for the next Scorsese-movie "Hugo Cabret".

Your screencap is okay, but it looks dead like every image a Red captures.

Had an Alexa in my hands today for some testing and it feels like a real camera (no confusion at first touch, every button is where you expect it), not a computer and I am looking forward to shoot a shortfilm on it in octobre.

[Filip Stojan]

"Pirates 4" is shot on Red, because the great Bob Richardson secured all available Alexas for the next Scorsese-movie "Hugo Cabret".

Your screencap is okay, but it looks dead like every image a Red captures.

Had an Alexa in my hands today for some testing and it feels like a real camera (no confusion at first touch, every button is where you expect it), not a computer and I am looking forward to shoot a shortfilm on it in octobre.

Thats not true...
Here is the proof "If we had to make the decision again we wouldn't change a thing" ??????


Good luck with shooting on dead 1080p resolution

Just remember that 1080p is VHS these days

---------------------------------------

I've read some posts above....

RED MX sensor matches lightmeter and 500ASA is 500ASA or any other ASA valeue now...

Arriscan 4K is not real 4K... Low speed stocks are 3.2K and highspeed 2.7K... nothing is 100% perfect.
Arri said that If you want real 4K resolution go and scan it at 6K...

EPIC's 5K resolution is above real 4K and its perfect for 4K finish.

Please do not disrespect RED products and go outside and shoot with RED.

Vilos Zsigmond finished feature film "The Maiden Danced to Deat" on RED. If it is a scam he wouldnt use it.

Alexa in 1920x1080 mode has real 1.6K resolution...

[Marco]

Shooting a movie is much more than counting pixels.

Arri has a working system, in which I trust. As I said, it feels like a great camera. And I am really happy, that there will be an optical viewfinder-version of the Alexa at the end of the year. I am fine with the EVF for a shortfilm-project with a two day shoot, but not for a bigger project.

I am not feeling comfortable in front of big monitors, hoping my lighting fits the Red-sensor. Arri designed the Alexa like a real filmcamera with a film-like workflow on set, which I prefer.