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EPIC-M Archive - Page 2 of 3 - CINEGEARBLOG.COM

Tag Archive: EPIC-M

Dave McGavran of Adobe just posted new details at REDUSER.net

Hi Guys,

Dave here… I teased you last week because I couldn’t talk fully then. Well we announced CS5.5 and I want to post a few of my thoughts on this board about how this helps the RED workflow. We try our best to keep you fully informed and I don’t hide any info that I am ready to disclose so here it goes:

  1. We added second system sound, this was asked for by all you guys. It works great and easy.
  2. We fixed all known timecode issues with RED footage and audio sync.
  3. We worked with RED on some stability fixes that should make everything better.
  4. We added all the current color settings that you get in RED Cine.
  5. We added histograms and a curve editor.
  6. We significantly improved importing FCP import including work on making FCP red stuff import better.

Next we have an EPIC Labs release planned for really really soon after 5.5 hits the streets. This will have more stuff we couldn’t get into 5.5.

  1. EPIC support!
  2. EPIC HDR support. (I will post more on the specifics of this later. I am working with the excellent guys at fxguide to make sure this works well)
  3. Second head out of the red source settings dialog in PPro. So you can see your corrections on a second monitor.
  4. On a big monitor you get bigger source settings.
  5. You will have the option to respect camera metadata for flipping images. Although it will be faster on the timeline.

Whats up with Rocket?

We improved performance on Rocket in ppro. 4k full res no dropped frames using rocket on windows. A drop or two is still sometimes visible on the mac due to apple hardware/software issues. Epic footage plays in real time at half/res with 1 rocket. 2 rockets and it can play full res 5k in real time no dropped frames. This was demoed in the JMR booth.

Plus all the other great features in ppro and as always we made things faster, better and more stable.

This is all 5.5 based. So get it and and give us feedback. I want all RED movies edited in PPro and Effects editing done in AE. We are listening to your feedback and incorporating it where we can and as fast as we can so keep up the suggestions.

I am now working directly on the ppro team so I will be gathering all the notes you guys have posted in this forum and bringing that directly into our planning.



Read more at REDUSER.net.

This is what Jim wrote at REDUSER.net forum:

  1. The situation in Japan has affected us, along with the rest of the industry. We are like ants looking for an alternate route to the sugar. It is affecting EPIC-X and Scarlet 8X the most. We can’t give specific dates because we are in line for parts from alternate suppliers along with everyone else. We do know that we are sitting here with a ton of inventory of parts and pieces ready to roll and the latest it could possibly be to get EPIC-X in production is June. We are trying for sooner. Even if we begin production in June, we think we can clear all orders by end of summer. We have purchased, at great expense, parts to make EPIC-Ms… and are ramping up production again on this model.
  2. We announced the RED Dragon. It is of the Monstro family and is scheduled to be released in 2012. The significance of this sensor is that it is an upgrade to the current EPIC-X and EPIC-M and not a new brain. Obsolescence obsolete is alive.
  3. We have shown the iPad “Mission Control” application.
  4. We are working on a home 4K laser projector.
  5. There is a new REDCINE-X to be released this week with Rocket support for EPIC and a ton of new features. N/C as always.
  6. REDray Professional is scheduled to ship in June. Price to be announced prior to shipping. Well under $10K. REDray consumer in 2012 under $1000.

The uncertainty of supply chain weighs heavily on us. As paralyzed as we feel, we acknowledge that there are many others in Japan that continue to suffer unthinkable pain and consequences. The news is now diverting away from Japan, but the significance of the situation does not track with the news. It continues to be unimaginable.

Thanks to all of our customers for your support and patience. What we are attempting to do is unprecedented in any industry. We are swinging for the fences. Apparently, we are beginning to inspire others to step up their game. We like that. But we still are continuing to stretch towards the impossible for our customers and supporters.



Peter Jackson shoots The Hobbit at 48 frames per second.

Here’s what he said:

”We are indeed shooting at the higher frame rate. The key thing to understand is that this process requires both shooting and projecting at 48 fps, rather than the usual 24 fps… So the result looks like normal speed, but the image has hugely enhanced clarity and smoothness.

Looking at 24 frames every second may seem ok… but there is often quite a lot of blur in each frame, during fast movements, and if the camera is moving around quickly, the image can judder or strobe. Shooting and projecting at 48 fps does a lot to get rid of these issues. It looks much more lifelike, and it is much easier to watch, especially in 3-D.”

You can sign in now to get listed that you’re interested in buying a RED EPIC-M.


Read more at RED.com


RED Dragon

Maybe an upgrade from EPIC to MONSTRO?

Read more at REDUSER.net

Yesterday Jim Jannard published the frame rates for the RED EPIC:

Just for reference, these are the frame rate specs for EPIC (all shown widescreen except QuadHD and 720P).

5k 2.40 = 120
QuadHD = 127
4k 2.40 = 150
3k 2.40 = 200
2k 2.40 = 300
720P = 360


Read more at REDUSER.net.

Just read on the REDUSER.net forum that adobe is hooking up their line of products with RED EPIC support. Until now the support is working in Adobe Premiere, Adobe After Effects and Adobe Media Encoder. All CS5. You can even mix material of RED ONE and RED EPIC in the same timeline and includes Rocket support.

Read more at REDUSER.net

In this article Andrew Lesnie reveals The Hobbit 3D cinematography set up.  As we posted some days ago, the production of the Hobbit had started on on March 20 in Wellington’s Stone Street Studios and on location in New Zealand.

First, the short facts:

The Hobbit is:

  • being shot on 30 RED EPIC cameras;
  • using Zeiss Ultra Primes, Master Primes and Optimo zoom lenses;
  • shooting at 47.96 frames per second;
  • using 3ality Digital rigs.

Also Jim Jannard of RED has previously revealed that the production would use its new, smaller EPIC digital cameras, which can shoot at 5K resolution and up to 120 frames per second.

Read more at if.com.au.

Short hands on video of the RED EPIC-M camera by Digital FX: