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EXCLUSIVE from RED Day: Working EPIC video


Joseph Hutson

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Jim Jannard, founder of RED Digital Cinema, was so gracious to allow me to video him demonstrating the 5K EPIC. Also he gave me the privilege of being one of the first to record footage on the EPIC.

 

This is the first and only video (with permission by RED) of a working EPIC, that actually records and is demonstrated by Jim Jannard, himself.

 

http://vimeo.com/10940788

 

Also, lot of pictures up on my Facebook (facebook.com/josephhutson) from RED Day...here's a few...

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Edited by Joseph Hutson
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Maybe ..... But he's clever enough, he may pull an Alan Funt on you, and just keep you wondering. ;-)

-- J.S.

Steady on Mr Sprung. Since this is a family forum, I must respectfully ask you to moderate your language. :lol:

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I can't even imagine the face of Keith staring his eyes on your post. :lol:

Be ready yourself Joseph from now on, welcome aboard! ;)

 

E. :-)

Er what?

Oh sorry, I wasn't paying attention.

I was reading this story about how the Season final of "House" was shot with ~$2,000 Canon Digital Stills cameras in HD video mode. Amazing what they can do these days.... :P

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Thanks, Joseph. The compact form factor looks appealing. Great to see how small it can be with a basic configuration and short zoom.

 

-Fran

 

I too am impressed by the tiny size, it makes me a little worried about heat dissipation tho but maybe with the newer technology the camera runs cooler anyway.

 

I guess we will find out but I imagine the RED people will have considered heat issues a lot because of past concerns.

 

Definitely looking interesting.

 

love

 

Freya

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Looks like there are going to be a number of options for 35mm sensor cameras over the next year. Although, the Aaton was very much a preview for being available in a years time.

 

Also, a possible 35mm sensor camera from Sony and 4/3 camera from Panasonic for the prosumer market.

Edited by Brian Drysdale
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Looks like there are going to be a number of options for 35mm sensor cameras over the next year. Although, the Aaton was very much a preview for being available in a years time.

 

Also, a possible 35mm sensor camera from Sony and 4/3 camera from Panasonic for the prosumer market.

US $6000 for a digital cinema camera with a large sensor size is a milestone indeed.

 

Release date: December 2010

 

http://www.dvxuser.com/V6/showthread.php?t...574&page=13

 

http://www2.panasonic.com/webapp/wcs/store...082010101919040

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PS

 

Oh, I am sorry. I forgot a few doesn't even consider a prosumer camera to be called a cinema camera. Or... a digital camcorder, my apologies. ;)

 

 

I think you should be more worried about who (or what) Emanuel is....

 

(in your native language)

http://en.wikipedia.org/wiki/Immanuel

 

Now I got where you're getting your usual misspelled double 'm's :lol:

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PS

 

Oh, I am sorry. I forgot a few doesn't even consider a prosumer camera to be called a cinema camera. Or... a digital camcorder, my apologies. ;)

 

 

 

 

(in your native language)

http://en.wikipedia.org/wiki/Immanuel

 

Now I got where you're getting your usual misspelled double 'm's :lol:

 

Google Image search "Emmanuel": ~8,400,000 hits

 

 

Google Image search "Emanuel": ~5,800,000 hits

So there.

I can't help it if you can't spell your own name. :)

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Looks like there are going to be a number of options for 35mm sensor cameras over the next year. Although, the Aaton was very much a preview for being available in a years time.

 

Also, a possible 35mm sensor camera from Sony and 4/3 camera from Panasonic for the prosumer market.

I wonder when PL mounts and 12V DC input start to become standard available options.

You'll also need special head adaptors that clamp onto the lens instead of the camera!

(I know they aready have those for existing stills lenses, but they'll need something for existing cine glass).

 

Wonder what will Star Wars Episode 7 be shot on; an iPhone App perhaps? :rolleyes:

 

These are indeed exciting times, for cinematographers and hecklers alike! :D

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This is the first and only video (with permission by RED) of a working EPIC, that actually records and is demonstrated by Jim Jannard, himself.

Why is the video so jerky and disjointed?

In case it was a link problem, I fished the downloaded file out of my Temporary Internet Files folder so I could play it offline with QuickTime and other players. Same result.

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I wonder when PL mounts and 12V DC input start to become standard available options.

Wonder what will Star Wars Episode 7 be shot on; an iPhone App perhaps?

 

I wonder when somebody will decide that PL mount lenses no longer need to be designed with clearance for mirror shutters. There has already been a feature film released that was shot entirely on cell phones. It was a story about prostitution in South Africa.

 

 

 

 

 

-- J.S.

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I wonder when PL mounts and 12V DC input start to become standard available options.

You'll also need special head adaptors that clamp onto the lens instead of the camera!

(I know they aready have those for existing stills lenses, but they'll need something for existing cine glass).

 

Wonder what will Star Wars Episode 7 be shot on; an iPhone App perhaps? :rolleyes:

 

These are indeed exciting times, for cinematographers and hecklers alike! :D

 

There seems to be two markets developing in the 35mm sensor world, one uses the PL mount for cine glass and the other various stills mounts. Purely on a lower cost basis (resulting in more camera being manufactured I would assume), would be for the latter. It's something that has been happening with the RED One to some extent, although I haven't seen a breakdown percentage or numbers wise PL mount vs stills mount for the RED One.

 

How interchangeable these mounts need to be would be another matter. I expect Sony and Panasonic are aiming these cameras that the people who are currently shooting video on DSLRS or have 35mm adapters fitted to their HDV cameras and most of these people seem to use stills glass.

 

I believe the first feature shot on a mobile phone was made a few years ago (EDIT: I've just noticed John has mentioned it).

Edited by Brian Drysdale
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I wonder when somebody will decide that PL mount lenses no longer need to be designed with clearance for mirror shutters.

-- J.S.

 

 

Isn't that what lenses like the Optimo rouge lenses are all about ?

 

jb

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Fascinating.

Now all we need is for someone to make a big-budget cinema release movie using 5/7Ds, Hotrod mounts and a set of RED primes, edited on a $700 laptop!

 

I don't know about cellphones, but some of the pocket SpyCams I've seen recently give astoundingly good quality images, with 2-3 hours continuous recording on a single battery charge. Some of the more expensive ones even have servo-focus lenses.

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I too am impressed by the tiny size, it makes me a little worried about heat dissipation tho but maybe with the newer technology the camera runs cooler anyway.

Thanks to the new ASIC-based design, the Epic should have much lower power consumption than the FPGA-based RED One.

This also means the same batteries should run the camera for much longer, and new lightweight on-board batteries are possible.

The downside of ASIC-based design is that there is far less flexibility for design changes if unforeseen problems crop up.

 

(FPGA means "Field Programmable Gate Array" which as the name suggests means the major components can be re-programmed by the designer. The downside is that FPGAs use a lot of power and generate a lot of heat.

ASIC means "Application Specific Integrated Circuit" which is basically a permanent silicon implementation of an FGPA design. Because you know ahead of time exactly how much of the FGPA's systems will need to be transferred to ASIC, and you also don't need the re-programming circuitry, ASICs use much less power and can usually run faster than FGPAs. However, if a serious bug crops up in production, ASICs have to be re-designed, re-drafted, and completely new ones manufactured, instead of just being re-programmed).

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Fascinating.

Now all we need is for someone to make a big-budget cinema release movie using 5/7Ds, Hotrod mounts and a set of RED primes, edited on a $700 laptop!

 

More likely shooting with the 5/7D and needing high end post kit to sort out the problems. Seems there was a bit of sorting needed when an episode of House was shot using DSLR cameras.

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Size and form factor looked very nice to my eyes. With only a CF card, small LCD and battery in the hand grip thingy, Epic X looked about twice the size of a Canon 1D4. Not too shabby. And I saw Jim turn it on while people clocked the startup time... something like 14 seconds from push of power button until images were recording. Again, huge improvement.

 

My interest will be in keeping the setups extremely light and compact much of the time.

Edited by Tom Lowe
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