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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

request - Epic

Patrick Tresch

Patrick Tresch

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Hello,

Could it be possible to implement an electronic bubble level in the viewfinder of the EPIC?

Do anyone know what is the sound noise level of the EPIC?
Wich is, in my humble opinion, the biggest problem of the RED ONE.

Thanks.

Pat
 
Patrick Tresch said:
Hello,

Do anyone know what is the sound noise level of the EPIC?
Wich is, in my humble opinion, the biggest problem of the RED ONE.

Thanks.

Pat
Click to expand...

So as we could read in the article of provideocoalition, there seems to be a improved cooling system of the cam. So I want to second the question of the noiselevel.

thx
rainer
 
Yes... sadly...

True, buzzy fans are part and parcel of the compact form, but that’s a compromise I’m willing to accept. The nearly silent blowers used in the Alexa, or the Aaton digital back, are only possible when you have a camera the size of an Alexa: near-silence requires low velocity air, and low velocity requires larger passages and radiators. Presumably the little guys quiet down during a take, as the fans on a RED ONE do.

http://provideocoalition.com/index.php/awilt/story/red_visit_21_september_epic/

I'll get to buy a lot of beer to the sound crew...

Pat
 
So we have still the loud noise of the fans during a rehearsal and standby of the cam ?
I hoped that this will change.... any words of Red regarding cooling system ??
 
I too hope the fans can keep running at silent levels during long takes, but one nice thing about the new Epic design is the potential for easy addon fans with much larger diameter blades (think some of the "silent PC" fans available like Pabst, Noctua etc) to be attached either to the front or top exhaust areas of the camera.

Of course I hope this isn't needed and I'm sure Red have things well in hand for production units.

HTH

Paul
 
It could be also interesting to have the option to switch off features that would be power eating and camera heating...

HDRIx - lesser resolution REDcode - Smaller size (4k 2:1) - HDsdi output downconvert - exposure histogram - ... what could heat that beast up...?

Typically feature that are unesseseray on (handheld) documentary type of work... where takes could be of 30 minutes and where the camera can't disturb the audience.

Thinking loud... but perhaps these issues are allready adressed!?

Pat
 
Power Management

Power Management

It could be also interesting to have the option to switch off features that would be power eating and camera heating... but perhaps these issues are allready adressed!?
Click to expand...

Yes, we are all thinking along the same lines...
 
Bubble level in viewfinder can be achieved by accessing the data in the gyroscopes and accelerometers so in theory is very plausible and good solution.
 
Epic processing Camera

Epic processing Camera

The Epic will obviously be a very powerful computer. Why not harness that power and have the camera itself debayer and transcode footage? I suspect the Epic is an even more powerful processor than the RR card. I am aware that the RR Card is designed specifically for real time debayer and transcoding but this is not so far from what the camera is doing?

For owner operators this would be ideal and I am sure the camera could transcode very quickly. You probably only need three or four of the most popular codecs.

I know this would step on the toes of Red Rocket but post houses would certainly still need the RR card. It seems a shame to purchase this awesome camera/computer and not take full advantage. Buying a RR card and a Mac Tower is not what all camera dudes want to do or carry around on multiple locations.
 
Tom Gleeson said:
Why not harness that power and have the camera itself debayer and transcode footage?
Click to expand...

We are quickly moving to a place where R3D raw is a standard for post production. There is really no longer a need to have transcoded footage. Having access to the raw files all the way through post production harnesses the power/freedom that R3D gives you.

It would be like using only the jpg's of a pro DSLR.
 
Martin,

I agree for top end production Red Friendly is coming standard and its no brainer on larger TVC jobs or Feature production. BUT in a smaller market like Australia there is alot of work on smaller simple jobs which will be posted with quick turnarounds by inhouse FCP facilities that have little technical expertise or no will to step out of the box. I still want to take their money and to be honest on many of these gigs the full power of the R3D files is not required.

Presently working on a network TV show with three Reds. Their inhouse post people who are used to a TV style workflow refused point blank to deal with the mountain of 4K R3D data so we are shooting in 2K mode:banghead::banghead:

Ideally Red will supply a Module that will record in some of the common TV formats such as Pro res and MXF. Maybe the upcoming Epics 1920x1080 R3D format will serve as the "light' version?

I understand very well the wish to maximise quality but sometimes clients would prefer the most efficient and familiar process and I am more than happy to take their money
 
Tom, Red have said they will make a module to create H.264 files directly in camera (as well as being able to stream wirelessly). So you should be covered :)

That said, it's so sad to see people choose Red then limit it to 2K because of data issues. We've had those clients here too and no amount of convincing could change their minds. Still, as you say, happy to take their money! :D

Cheers from a fellow Sydney-sider (living and working in Tokyo),

Paul
 
And of course to have that transcoding in the camera, the fans would have to get even bigger and louder! And as pointed out .r3d files are already becoming a kind of "standard" -- plus I think there was talk of a pro res module down the line.
 
oh... I wonder if I should bite... -:)

BUT h.264 is not covering the needs I see.

DNx or prores with only redlogFilm or REC 709'ish (like REDgamma) would cover a lot of the foolproof needs, letting people have a "secure" route while the shops eventually learn to understand - or not understand RAW...

I have seen some silly results due to strange batch-transcodes on larger productions. If it is only batch, then RED may as well make a foolproof solution...

Offline/online is actually quite rational, still, and log DPXs aren't going anywhre soon - even in RED workflows.

Locking a full longform production into a good firstlit RGB of sorts, has a lot of upsides, still.

I really like new colorsciences, but a production needs to be finnished within the same, when one have started.

And a lot of tools work right and solid with them.

Shooting 2k to save diskspace, sounds a bit odd... -:)
But I have had the request at times.

Compressed RAW is pretty fun!

Just sayin'
 
Paul Leeming said:
That said, it's so sad to see people choose Red then limit it to 2K because of data issues. We've had those clients here too and no amount of convincing could change their minds. Still, as you say, happy to take their money! :D

Paul
Click to expand...


I am sure many of us here have ran into this situation. The last time I shot 2k was because that was what they wanted and for that project it really didn't matter. However, a few days later we were back to shoot a quick intro they added late and my buddy (who knows I get defensive over Red) who was working with me that day said he overheard some people from the set state "Ive heard so much about these cameras but yesterday I was looking at the footage and it really doesn't seem like anything special the 4k BS is just a gimmick". While I am guessing this individual wasn't well informed and probably not very experienced if this was his first use with a Red, it's still unfortunate to have information spread about Red that isn't true.:mad2:

I've just heard so many rumors/misinformation that I wish I could do everything to prevent it. After thinking about it tho, for that project which was just going to be shown over the web it really only needed 2k. I would love to say that I will only accept jobs which promote only the highest quality imagery. However, in reality I would never turn down a good paying job just because it wasn't being shot in 4k.
 
But it isn't really allways about the "quality" of a web-video. 2k can look just fine if it's lit well and there's some contrast to pull from, but I'd have thought that many who want to shoot RED, really are looking for the 35mm look and feel.

But waddaIknow...
 
I agree. Some people are hard headed and have their mind made up or someone told them that "it's all you need". For jobs like theses all I do is make my recommendation and hope they listen. Ha the customers always right...right:blush:
 
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