Stephen Williams

Population of 7,600,000 & 3 main languages is the main issue. It's not even as through the Germans can understand Swiss German, so the audience is tiny. Because there are so many rich kids who can work for nothing & supply a Red One, is it surprising there is no real business as it's just a hobby to most.

Then it would work, I can see a lot of DP's asking for it once, in it's current configuration.

I was really up for this however when I saw it at IBC I thought again. Whilst this works very well with film outside (50 iso), you will need an extra 1.2 of ND so it's a little dark at least for me.

Random works for me, it's just a DC motor from a very long time ago.........

Thank you very much Richard, I will be able to retire early,with all those residuals coming in. Stephen

Tim the owner is against censorship, so almost everything that is ever written stays for ever. Sustaining members can Edit their own posts for a short time ( used to be 24 hours, however it may be less now).

Watches with a price tag over $1,000,000 are in huge demand, waiting lists exceed 1 year. It's business as usual!

It's easy now due to agreements with the EU, however there is very little work which is why there are so few crew. Zurich is the 2nd most expensive city in the world to live in. With a population of 7 million everything needs to be in 3 languages so the budget for 'picture' is very low. It's never been an issue that I don't speak any of the local languages as I tend to work on international jobs.

I think there is the highest no of Red's per capita, anywhere in the world. To put it in perspective there were probably 8 Digi Beta Camcorders which most of the higher budget video work was done between 1998-2006. There are probably 4 professional camera assistants in Zurich the biggest City, about the same no of Gaffers & 25 swing whatever else is going!

I expect 50 Epics by the end of the year in Switzerland, most of which will never get used, it's the land of rich fathers. Very ferw of the R1's got upgraded to MX, which was an issue as I would specify MX & get an M. I am in talks with an Agency who claim they will give me 50 days shooting next year if I have an Epic, they want Stills & motion from the same shoot. They tried using a 5D, but it did not work out. Historically I have just shot 35mm for them.

I am looking at the various post houses, as I don't wan't to become a 'do it all' type. However the images in Redcine look fine without much tweaking.

Hi Rob, I bought the camera a couple of weeks ago, I had not told any of my clients that I was getting one,as I wanted to test it first. I will be shooting with it at least one job in October. I still shoot a fair amount of 35mm Film, Alexa and other formats which won't change. I don't want to be a DP who gets booked because he has a certain camera. I have already turned down a couple of offers from low ball producers. I would rather the production rents a 7D than give them the Epic for nothing. Stephen

Seems a really bizarre thing to do, there is a resolution hit at 2k. A x2 tele-converter would be a better option.

I always thought 5k had 60% more resolution than 4k, my only surprise was how noticeable the difference was at HD.

300 fps, there would be no point to shoot 2k unless high speed is needed.

From the tests I have done 2K from Epic is better than 2K from Red one, compression did not seem an obvious issue.

4k Windowed from the Epic V Full sensor 5K

The lenses are sharp, a little like UltraPrimes. Personally I prefer Cooke over Zeiss, you need to test and see if you like them, they do the job perfectly well & they are not very expensive to buy. I am testing some again soon.

Don't use the 18mm, it will hit the shutter.

It's resolution, so it does not look ugly like sharpening. As the DOF is minimal they don't have anything to worry about.

I really don't understand the improvement in resolution at 5K, looking at a packshot of a toothpaste tube, all of the tiny lettering around the edge of the box was very sharp, it's something that I have never seen before. For HD delivery I really did not expect to see any difference at all.

I went into a rental house to check the FFD on the Epic, it was 100% spot on as I thought. They have a couple of Alexa's & are up for a test. I think the record to prores is the main reason, however if they edited with Premiere Epic would be just as easy.

Try another card reader, the more expensive ones are more reliable.

HDRx is enabled, you choose ho many extra stops you want on the second stream, it works. Redcine X can show the 2 streams adjustable with a slider bar. It looks like + 3 stops is the way to go.

Here is the plea agreement. http://www-deadline-com.vimg.net/wp-content/uploads/2011/09/Bravin-Plea-Agreement110922235332.pdf