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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 :)

13th responses here...

I can't imagine the Epic FF35 won't have a PL mount. Otherwise you're locked into using Red's own FF35 lenses (which I'm sure are great but there aren't any primes and T2.8 isn't fast enough for many situations). The biggest problem would be that most DPs generally like to choose their lenses for each project since they all have such different looks and performance - being tied into just one type of lens would be very limiting, especially from a rental point of view. Also expecting all the Red owners out there to invest in a whole new set of lenses would stretch most owner's loyalty when they've already invested large amounts of money on perfectly good, industry-standard lenses.
 
New table

New table

Tables are fun. Here's another one:

14388_1226606967.png


Oh, and I figured out the math on the megapixels on the RED ONE. The sensor is 12 MP (4520x2540), but the still is the same size as the 4K 16:9 format i.e. 4096x2304 = 9,4MP!
The table in the brochure was a blend of these.

Another peculiar thing about all these numbers is that the Scarlet S35 is, as pointed out, $ 21k cheaper than the EPIC S35. The more surprising fact is that the Scarlet FF35 is $ 23k cheaper than the EPIC FF35.

Now obviously REDCODE 225 is way better than REDCODE 42 and so on. But the way I look at it, Scarlet FF35 is the real bargain. Now I just need to find $ 12k (plus...) to take advantage of it.
 
david farland said:
I'm suspecting they've worked out the 13+ stops figures using down rezzing to 4K or less
Click to expand...

znelson said:
"Pixel shifting and up-rezzing not spoken here" ... hmm "down-rezzing" spoken here?
Click to expand...

I'm certain they didn't calculate 13+ stops based on down-rezzing. If they did, they would have specified the output size (4K, 2K, 720p, DVD, YouTube) that it corresponds with.
 
35mm PL mount camera's have the same PL mount that a super 16 PL camera would have. Actually a PL mount on Epic FF35 would be perfect as you could see around the entire aperture of super35mm as well as use the full "4-perf gate" for anamorphic.
 
Daniel Browning said:
In other words, 13+ stops at 5K will give you 14+ stops at 2.5K and 15+ stops at 720p. If you crop to 720p, you'll only have 13+ stops.
Click to expand...

Shooting high fps and averaging frames in post works in the same way too - that can be added to the mix for even more additional DR.

For example, one can shoot four times the normal speed, 96 frames a second, with 1/96 shutter, and conform that to 24 fps 1/48.

This is done in post by averaging two frames, throwing out the next two, averaging two frames, throwing out the next two etc.

This gives one stop of additional dynamic range.

If 1/24 shutter time is acceptable, one can just average all 4 frames together for two extra stops of dynamic range.
 
Halsu said:
Shooting high fps and averaging frames in post works in the same way too - that can be added to the mix for even more additional DR.

For example, one can shoot four times the normal speed, 96 frames a second, with 1/96 shutter, and conform that to 24 fps 1/48.

This is done in post by averaging two frames, throwing out the next two, averaging two frames, throwing out the next two etc.

This gives one stop of additional dynamic range.

If 1/24 shutter time is acceptable, one can just average all 4 frames together for two extra stops of dynamic range.
Click to expand...

How (technically) do you gain DR by doing this? And could you explain how you'd lose DR by doing the opposite?

I can't see the connection between DR and the number of frames - isn't DR on a per-frame basis?
 
So now that I've had some time to digest, some lingering questions:
  1. Weight of a DSLR setup... Seems like it's going to be 2X as heavy as a Nikon or Canon once you factor in the battery/EVF? Obvious there is tremendous functional advantage in the Red setup, but weight does seem like a concern for still photography pros. Any chance of a "light-weight" version, perhaps using different materials (carbon-fiber perhaps)? This would benefit hand-held shooters on the cinema side as well.
  2. Playback of higher resolutions... We don't have a disc-based playback standard for 4k yet, much less the higher resolutions. Is RedRay going to be a multi-resolution solution, and if so, when/at what price?
  3. Display of higher resolutions... 4K screens have been demonstrated, and 4k projection can be had for a price, but none of it is accessible. Beyond 4k? I'm sure there have been some tech demos, but it doesn't feel like anything is close to market. Is Red considering stepping in on the display side of things?
  4. Workflow... there are undoubtedly plans in the works to address across all resolutions, but it'd be great to have some sense for the vision... R3D native in Premiere seems to be the current emphasis, so perhaps this will scale, and be copied by other packages (FCP, Avid, etc)? I'm sure Scratch (and others) will support the new formats on the high end, but again, it would be great to hear more about the plans there.

Exciting stuff... I'm torn between the appeal of a Scarlet system that's slightly better than my Red One which also converts to a great DSLR rig, and the bigger/heavier Epic that has greater dynamic range, and greater resolution. Too many choices!
 
Could someone from the Red team please explain more about the differences between for instance the Scarlet FF35 brain and the Epic FF35 brain?

I am curious about what justifies the price difference for the two "brains".
I am sure there is a very simple explanation...it's just that I can't figure it out!

I guess it must have something to do with the fact that the sensor isn't everything...getting the information "out of it" fast enough is the tricky part?

Thanks in advance!
 
All amazing, head-asplodin' stuff, but two things really stand out: 16bit colour and of course the Epic 617

I really hope the 617 happens as its a game-changer in so many ways. 2 uses off the top of my head - digital backlots and multiple AV displays (100+ HiDef displays in any arrangement cropped from one original source file.)

Pre-owned 645 and 10 x 8 lenses have just increased in value.
 
I read somewhere that the human eyes are capable of 576 MP, so Red is about halfway there! (260MP's with Epic 617) Maybe in 2012, they will achieve human-eye level MP's!!!!! (Because we need it!)
 
First of all: Congratulations, Red team! This is awesome!

And second: I haven't read through all 185 pages (so far) yet, so I don't know if this has been covered. But I have noticed people wondering about the difference between the 2/3 fixed lens Scarlet and the 2/3" brain only. So I just want to point out that the fixed lens version in the renders obviously has a deeper box for its "brain" - the difference is more than a fixed lens or not. Probably to make room for battery and card reader, like the original Scarlet. But what will that mean for the modularity of the fixed lens version?

Sindre Saebo
Oslo, Norway
 
Hayhurst said:
Good morning one & all,

We've come a long way since the IBC demos --- more performance, more stability, more options, and tuning it to CS4 which is architected for 64 bit systems so that you can stuff it full of memory and get that smooth as butter experience.


Simon & the Merry Adobe Gang
Keeping you close to the lens
Click to expand...

Hi Simon,

Glad to see you made it to the Red Express.

I was wondering which platform is better for CS4 and the Red plugin, Mac or PC? will one run the suite better? and if I buy the windows version can I switch it to mac?

Thanks.
 
Marcus said:
Could someone from the Red team please explain more about the differences between for instance the Scarlet FF35 brain and the Epic FF35 brain?

I am curious about what justifies the price difference for the two "brains".
I am sure there is a very simple explanation...it's just that I can't figure it out!

I guess it must have something to do with the fact that the sensor isn't everything...getting the information "out of it" fast enough is the tricky part?

Thanks in advance!
Click to expand...

Though I'm not sure (and there's probably more to it than this) The Epic FF35 can shoot up to 100 fps (vs the Scarlet 30fps) and the Epic uses the Redcode 225 codec (vs the Scarlet Redcode 42). Those seem to be the primary differences right now. Whether or not that's enough to justify the price difference....there's probably more too it than that?

Doug
 
awesome

awesome

late to the party, but have to say that the 645 camera looks awesome!


can't wait to try one out. When will these be available in rental houses?
 
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