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EPIC-M Archive - CINEGEARBLOG.COM

Tag Archive: EPIC-M


New prices for RED SCARLET-X and RED EPIC-X

Jim announced it some days ago in the REDUSER forum. Now it became reality. We experience a massive price drop conducted by RED DIGITAL CINEMA.

SCARLET-X: $ 7,950 (brain only)
That is about 18 % less than introductory price.

EPIC-X: $ 20,000 (brain only)
That is about 45 % less than introductory price.

EPIC-M: $ 24,000 (brain only)
That is about 39 % less than introductory price.

EPIC-X Monochrome: $ 20,000 (brain only)
That is about 52 % less than introductory price.

Goodbye old lady

The retail of the RED One will be discontinued. It was the first digital cinema camera by Jim Jannard and company. From here on you will only be able to purchase the last battle tested RED One cameras. Price will be $ 4,000.

Salute to the old lady.

The EPIC-X, EPIC-M, EPIC-X Monochrome and SCARLET-X will keep your legacy up.

via RED

Some news regarding EPIC and so by Jim Jannard of RED:

There are some significant updates and changes that I would like to share…

1. EPIC-Ms are being built at a rapid pace. There is no waiting if you want to buy an EPIC-M starting tomorrow. Supply is limited. Just remember that these are still pre-production cameras and firmware upgrades will be necessary to enable some remaining features. EPIC-Ms have a 2 year warranty.

The EPIC-M program has helped us tune up for beginning EPIC-X production late August and full swing production early September.

2. EPIC-X will ship in the following order… Stage 2, Stage 3, Stage 3.5, Stage 4. We will not begin to ship the next stage until the orders from the previous stage have been completed. If you don’t want to wait, buy an EPIC-M.

3. Given the tragedy in Japan, EPIC-X production was delayed. The other side effect is that prices of many things have gone up. Given this, we are announcing a price increase on some items that will take effect on January 1st, 2012. If you have your order and deposit in before Dec. 31, 2011 you will get the old price. Any new orders placed after Jan. 1, 2012 will be charged the new price. Price increases in bold.

Product ……………………………… OLD PRICE … NEW PRICE

RED ONE M-X ………………………… $25,000 ….. $25,000

RED ONE Side SSD Module ………… $1500/ ……. $1500

Mysterium-X upgrade for RED ONE .. $5,750 ……. $5,750

EPIC-M Package ……………………… $58,000 …. $58,000

EPIC-M brain ……………………………………… … $39,500

EPIC-X Brain ………………………….. $28,000 .. $35,000 see note below

EPIC PL Ti …………………………….. $2000 ……. $2000

BOMB EVF …………………………….. $3200 ……. $3200

REAR SSD MODULE ………………….. $1500 ……. $1500

SIDE SSD MODULE …………………… $1500 ……. $1500

DSMC Side Handle …………………… $950 ……. $1,750

MODULE ADAPTOR …………………… $300 …….. $300

PRO BATTERY MODULE (QUAD) ……………………. $1950

RED Touch LCD 5″ …………………… $1,600 …. $1,950

REDmote ………………………………. $550 ……. $750

Pro I/O Module ……………………….. $2,950 …. $3,750

Pro Battery Module (Dual) ………….. $1,250 ….. $1,450

REDVolt ………………………………………….. …… $195

DSMC Travel Charger …………………………………. $125

EPIC-M custom lasercut Pelican case ………………. $595

4. Stage 2 was changed recently. The newest package includes an EPIC-X Brain, Titanium PL Mount, Side SSD Module, 5″ Touchscreen LCD, REDmote, Module Adaptor, Pro Battery Module, 2 REDvolt Batteries and Travel Charger. $28,000 less $8500 credit and keep your RED ONE. Net price $19,500.

5. Stage 3 will reflect similar changes to the package as Stage 2. Stage 3 package price is $28,000 less $17,500 and trade in your non-executed RED ONE. Net due is $10,500.

6. Stage 3.5 is the same as Stage 3 except you receive an EPIC-X Brain only and not the complete Stage 3 package. Net due is $10,500.

7. Stage 4 is a purchase only of an EPIC-X Brain for $29,500 (includes upgraded Titanium PL Mount).

Additional note: We have discontinued the aluminum PL mount option for EPIC.

Sorry for format… tabs don’t seem to work posting.

Please note: EPIC-X Brain price was $27,500 + $500 for aluminum mount = $28,000. Since the aluminum mount is no longer an option, the current EPIC-X Brain is really $27,500 + $2000 for Ti PL Mount = $29,500. Same goes for 2012 price of EPIC-X Brain. $34,500 + $2000 = $36,500 including Ti PL Mount. Sorry about the oversight.

Jim

 

RED SCARLET 8x Footage

New amazing footage of the RED SCARLET by Jarred Land:

Get it at REDUSER.net.

The FCC gives you the chance to see the private parts of a RED EPIC-M digital cinema camera.

FCC-EPIC-M-MYSTERIUM-X-SENSOR-CineGear

Read more at FCC.gov.

James Cameron ordered 50 RED EPIC-M cameras.

Read more at REDUSER.net

Jim posted some words at REDUSER.net:

Many people want to know what’s up with EPIC and Scarlet production.

EPIC-X. We are frantically working on finding solutions to supply chain issues created by the tsunami in Japan. We have found alternate sources (as have all of the other major companies) of parts that were exclusively made in Northern Japan. All of us are just waiting and in line for these parts and pieces. It appears that a solution to the supply of these parts will allow production of EPIC-X to begin in earnest in June. We have a full production facility and 98% of the components ready and waiting to rock as soon as we receive these parts.

EPIC-M. We are making machined body parts and purchasing individual parts and pieces at extraordinary prices now to continue production of EPIC-M.

Scarlet continues to be an issue due to the fact that lens components from Japan are causing an issue and we aren’t quite sure how long it will take to resolve. We will update as we have more info.

In the past we were late due to our own issues. Now we are late due to issues beyond anyone’s control.

Jim

Read more at REDUSER.net

Get the first draft of the EPIC operation guide.

Read more at REDUSER.net

Jim Jannard wrote something about the relationship between Hollywood directors and RED cameras:

David Fincher said “I choose RED over film” and is shooting “The Girl with the Dragon Tattoo” on RED. Peter Jackson said “RED looks like 65mm film”… and is shooting “The Hobbit” on EPICs. John Schwartzman is shooting “The Amazing Spider-man” on EPICs in 3D. Dariusz Wolski shot “Pirates 4” on RED and chose RED again for Ridley Scott’s “Prometheus”. “The Social Network” was given an Academy nomination for Best Cinematography. Steven Soderbergh has chosen RED for 6 straight films. “Jack the Giant Killer” and “Underworld 4” are currently shooting RED.

These guys have shot film most of their careers and have done side by side testing of all the latest digital offerings. Yet they are now shooting RED. What is it that they know?

Forget the story, actors, set design, wardrobe, and makeup for a minute. What they know is what an image should look like. None of these guys will compromise the image for anything… their reputation and finished product depends on the best image they cam make.

So… why RED? They all have the budget to shoot anything they want. What do they know that us mortals don’t?

1. They understand dynamic range, resolution… and “feel” of an image. All matter in combination.

2. They understand that their final product is headed for the “big screen”. What resolution might be “good enough” for a 42″ screen today may not be good enough for a 40′ screen. And what is good enough for today’s home theater may quickly change.

3. They have figured out the best way to get the best results from RED footage… more on this below.

4. They appreciate the value of on set feedback and have a good “hourlies” workflow.

5. They understand the value of shooting RAW and the flexibility it gives them for a final grade.

6. They understand lighting and how that effects the final image. Lighting… what separates the men from the boys.

So how do they get the very best image from RED?

They stay in REDCODE RAW as long as possible. Whether you use REDCINE-X or Pablo, stay in REDCODE RAW until the very end. Don’t make DPX files 1st and then grade. Limiting the color space, range and white balance right off the bat is not a good thing. Don’t do it. This is true if the final output is a DCP package or a film print. For VFX… use Log space and 16 bit EXRs. The very LAST thing you should do for a DCP output is make DPX files.

The pros know how to light and expose. If you have aspirations to make great images… learn these two thing 1st. There is no longer an excuse to blame the equipment. Too many great looking features have been Shot on RED. If your stuff doesn’t look right, you are doing something wrong. Ask for help.

We are proud of the big projects being shot on RED… the biggest projects actually. We are just as proud to be able to put RED in the hands of may aspiring cinematographers. We are here to help you learn the craft. There is no mystery… just hard work and a lot of info to be learned.

Now… back to the story, actors, set design, wardrobe and makeup.

Jim

Read more at REDUSER.net

Jim Jannard said something regarding ALEXA vs. EPIC:

There is a lot of controversy about the Alexa vs. EPIC. Rightly so.

(This post was done in response to misinformation that seems to be spreading… I’d probably do a more elegant take if I could wind back the clock)

Here is the official RED take on the subject.

The Alexa makes great images. No question about it.

The EPIC makes great images. No question about it.

The Alexa is a small camera.

The EPIC is a smaller camera… about 1/3 the size of an Alexa.

EPIC has 6 times the resolution of Alexa. (as normally shot). EPIC has 5 times more measured resolution comparing best case for each cameras.

Alexa has a stop more native dynamic range than EPIC. Good on them.

EPIC has 3 stops more DR than Alexa using HDRx. Good on us.

EPIC is mostly ownable.

Alexa is mostly rentable.

(probably not a necessary point to post)

EPIC is modular. You can upgrade parts and pieces of EPIC. Even the just announced RED Dragon sensor is an upgrade.

Alexa is modular (Alexa-M). You can split apart the sensor and tether to the electronics. A different type of modular… and this is a different model Alexa than everyone owns so far.

Arri is a 70 year old company. RED is a 5 year old company. RED is scary. Arri apparently is not.

Alexa shoots 1080P Prores to a flash card or 2K uncompressed RAW to a Codex box.

EPIC shoots 5K to an SSD.

Alexa shoots 1080P at 60fps.

EPIC shoots 5K @ 120fps.

EPIC can shoot high res stills at 5K.

It should be noted that Sony has announced a new 4K camera… the F65. While I’m not sure how 8K x 2K outputs to 4K, this is a serious introduction to the industry and should be considered as an real alternative. We especially like that Sony has acknowledged the importance of 4K. Coupled with Sony’s 4K projectors… it appears that 4K is here as the new standard. Rightfully so. Film would be proud.

Jim

Read more at REDUSER.net

Ted Schilowitz of RED speaks out the first recommendation when it comes to record in ProRes on the RED EPIC camera. It’s the AJA Ki Pro Mini:

“AJA’s Ki Pro Mini is the first ProRes recorder that we’ve battle tested and are recommending for use with the RED EPIC.”

Read more at AJA.com