James Cameron ordered 50 RED EPIC-M cameras.
Tag Archive: Red User Forum
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.
Read more at REDUSER.net
Get the first draft of the EPIC operation guide.
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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.
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.
Read more at REDUSER.net
This is what Jim wrote at REDUSER.net forum:
- 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.
- 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.
- We have shown the iPad “Mission Control” application.
- We are working on a home 4K laser projector.
- 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.
- 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.
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.