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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 :)

Epic has changed...

Jannard said:
Just like Scarlet, Epic has changed completely. Throw out everything you thought before. We'll reset the deck at the same time we announce about Scarlet.

All good here. No bad news at all. Only good surprises. Still early-mid 2009. RED ONE upgrade still in effect.

And yes, it will still be called RED EPIC.

Cheers.

Jim
Click to expand...

oh no not again:bleh: :biggrin:
 
Jannard said:
Just like Scarlet, Epic has changed completely. Throw out everything you thought before. We'll reset the deck at the same time we announce about Scarlet.

All good here. No bad news at all. Only good surprises. Still early-mid 2009. RED ONE upgrade still in effect.

And yes, it will still be called RED EPIC.

Cheers.

Jim
Click to expand...

oh no not again
:P
dont worry jim i'm just pissing in your pocket (aussie slang meaning, just fooling around).

Any ideas on production numbers?
 
Its k but not that much pretty , Plz change the body shape of EPIC it looks like a Brick....
 
I haven't read carefully enough on the forums to know if this has already been proposed.

Here it goes: after watching the Dark Knight in IMAX I totally thought of the word EPIC when I saw that large format size used in action sequences. Could EPIC have a 65mm sized image sensor? I know it's crazy, but that would truly be epic.

Maybe window to smaller sizes if you don't want that shallow of dof. Or if not a 65mm at least a VistaVision sized sensor, isn't that about the same as Full 35mm?

Also I've heard rumblings of IMAX developing their own digital motion camera...
 
I really want this to be an 80mm sensor camera with relative resolution to the S35 Red One. Or the 65mm camera that comes out before "Colossal" or whatever the name. :)

Is that likely or will the S35 size get more smaller sensors?
 
well done Jim!

If the monstro sensor meet or the beat the SMPTE specs on 6k or 8k ultra high definition.It will make more sense to built it around the 65 mm format with internal tone maping processing(open source algorithms are available).this way those of us interest in the vistavision frame will benefit from it.Thus the epic destiny is to be born with a 8k sensor and take avantage of the new IRIDAS new realtime RAW 2.0 AND CINEFORM resolution independant codecs.I bet graeme is up to the task.
 
Since red one is almost 5k ready,it make more sense here to spec the next update of the red one sensor @ 5k or above and let the Epic be an EPIC.I like the idea of scaling the sensor depth up to 16 bit.
 
NUFI said:
Since red one is almost 5k ready,it make more sense here to spec the next update of the red one sensor @ 5k or above and let the Epic be an EPIC.
Click to expand...

Agreed!

I think Red One becomes 6K and faster fps, Epic becomes 8K or higher, scarlet becomes Red One! In the future, the process moves up yet again. Scarlet becomes One, One becomes Epic. Epic always becomes the latest and greatest in sensor technology and the others simply get upgraded by one. :sorcerer: Motion and rest = infinity!
 
What I was trying to ask is if Epic would have a much shallower DOF... I mean... do you end up shooting at much higher apertures? I guess you certainly could close the lenses up a lot more relative to 35mm because you would get more sensitivity from the surface area... but I am not sure how that would work. Someone teach me a bit here please and tell me what you think is likely to be seen in Epic in terms of sensor size.
 
There are a lot of old forums on this very topic. I think we should revisit the idea of a 4:3 chip for epic for anamorphics, as lots of people who make "epic" films want anamorphic glass.
 
PerfectOptics said:
There are a lot of old forums on this very topic. I think we should revisit the idea of a 4:3 chip for epic for anamorphics, as lots of people who make "epic" films want anamorphic glass.
Click to expand...

I completely agree! Plus Red can and will make glass for that!:wink:
 
USlatin said:
What I was trying to ask is if Epic would have a much shallower DOF... I mean... do you end up shooting at much higher apertures? I guess you certainly could close the lenses up a lot more relative to 35mm because you would get more sensitivity from the surface area... but I am not sure how that would work. Someone teach me a bit here please and tell me what you think is likely to be seen in Epic in terms of sensor size.
Click to expand...

DOF is a combination of sensor size, focal length and aperture. The larger the sensor, the less DOF (faster focus falloff). The more telephoto, the less DOF. The larger (smaller number) the aperture, the less DOF.

Jim
 
I posted this over on the Scarlet forum, but for all you who do not check that one out here goes.

I had some thoughts as soon as I heard that the Scarlet was going to be redesigned. Prior, I had been following all the news in regards to the DSMC, then when the Epic was announced to change as well, I solidified my guess' as to the future of the RED line. Jim had mentioned where camera (both still and motion) is heading (in regards to convergence) and he also mentioned about skipping a design generation. On the DSMC thread there was a lot of talk up about the DSMC competing with Hasselblad et al in the medium format arena. My predictions are as follows.

There will be two new DSMCs announced both featuring new sensor tech RED has been working on with ultra fast reset rates. These cameras will be the Scarlet and the Epic.

The scarlet will remain largely intact in term of video capabilities but will get a form factor upgrade. Likely in the vein of the new Lumix DMC-G1 recently announced or close to the EVIL camera mock up, but of course with the awesome RED industrial styling. It will boast a new full frame sensor and have interchangeable lenses as well. Price will be as low as they can get it within reason to help ward of competitors in the newly formed DSLR video realm.

The new Epic will have a medium format sensor. This will allow this DSMC to compete with the format of the same name in the still world. The cameras video specs will be refreshed also pushing resolution closer to 7k putting them in the IMAX league. Thusly making the Epic even more epic.

This incorporates most of the ideas going around the forums and it gives red a nice clean product line distinguishing between their two cameras and including the DSMC vision. Thanks for reading everyone.
 
I KNEW IT !!! The new Scarlet is now going to inherit the old Epic's specs, and the new Epic will turn to some kind of hadron collider.
That being said i agree that this change is DSMC related
Should i buy THE MAMIYA 645ZD 22megapixel combo or wait?

I love this sudden change policy.
It 's exciting !!!!!!!!!!!!!!!!!!
At Red, they don't wanna be in advance they wanna be ground breaking!!!
so much for my first post.
 
Jannard said:
DOF is a combination of sensor size, focal length and aperture. The larger the sensor, the less DOF (faster focus falloff). The more telephoto, the less DOF. The larger (smaller number) the aperture, the less DOF.

Jim
Click to expand...

Yes, thanks for the clear and complete refresher. What I am wondering is if there are any detriments from shooting with immense sensors like the 8K you must be working on. :blink:

I guess you get so much exposure, and since 8K projections are not part of the plan (yet anyway, this is Red) then the "next best thing" is 4K projection. :tongue: And a little noisy 8K will be flawless 4K out. So you can shoot at lower light than you could with S35 or 4K. Also, I suppose that 101% of you shooting 65-80mm can simply select the aperture they want based on only DOF wanted and light accordingly, even for large wide shots... especially with the added sensitivity.

What I guess I am getting at is whether we will see larger Monstrosities crawling out or the Red bunker walking on knives, or if the new best chips will remain at S35 and blow our minds with insane noiseless gain capabilities? A "little" bigger and crazy sensitivity? I haven't really looked into larger than S35 like... well, ever. So I kinda wanted to hear a bit about the effect that all of this will have on the new iterations of the best chip technology out there. No need to tell us what you are actually doing till it is best for the company, trust me, I want Red to succeed. But where will the attributes of large chips and their optics push us towards? Up? Or is there no need?
 
Jannard said:
DOF is a combination of sensor size, focal length and aperture. The larger the sensor, the less DOF (faster focus falloff). The more telephoto, the less DOF. The larger (smaller number) the aperture, the less DOF.

Jim
Click to expand...

With all due respect, I have to disagree with this. Sensor size has no effect on depth of field. As an example, think of a 50mm f/1.4 lens on a DSLR. Whether the sensor is full size 35mm, or APS-C, or 1/3", the depth of field in the picture stays the same - because it's the same picture, just different cropping.

Now if you meant to say that with a bigger sensor, you would have to use a longer lens to get the same angle of coverage, thus resulting in a shallower depth of field, then it's a different story...
 
Epic should not have the same size sensor as the RedOne!:ranting2:
4:3 OR Bigger.
 
Sumfun said:
With all due respect, I have to disagree with this. Sensor size has no effect on depth of field. As an example, think of a 50mm f/1.4 lens on a DSLR. Whether the sensor is full size 35mm, or APS-C, or 1/3", the depth of field in the picture stays the same - because it's the same picture, just different cropping.

Now if you meant to say that with a bigger sensor, you would have to use a longer lens to get the same angle of coverage, thus resulting in a shallower depth of field, then it's a different story...
Click to expand...

I guess it depends on how you look at it. If you use the same lens on different sensors you get a different field of view. I was assuming an equal field of view (equivalent, not equal, focal lengths)... which is usually the reference (but not always).

Jim
 
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