Epic and Red1 compatibility

[David (dudi) Namir]

Surely this was discussed before, but I can't find it. TMI (too much info) on the forum.
Beside 5K vs 4K and better RC Will the Red one will be compatible to work as a second camera for the Epic? I mean will files will be also R3D and can be put on the same timeline for both cameras.
What other issues may arise from using both cameras for the same project.
Thanks.

 

[Nir Shelter]

My guess is that as a B camera for the average Epic a Red1 will most likely be fine. As far as look goes despite the higher compression and different resolution they most likely will be gradable to look the same. Epic will write R3D files using RC just like the Red1 and will be able to mount the same glass.

As far as work flow goes if you do an offline/online work flow no problem. Just as with Red1 edit offline (all transcoded media will be the same resolution) and conform from the R3D files for a grade. Most decent grading suits have no problem with varying resolution on the same time line.
I have not seen a problem mixing 2K, 3K and 4K from Red1 on any system to date. I am guessing 5K mixed with 4K wont pose a problem either.

 

[sander kamp]

Until HDR was thrown in I thought exactly the same and I thought my RED MX could live a happy life as a B-cam since they share the same sensor and apart from different compression and frame rates and some resolution they were the same.

But now with HDR all bets are off.

Depending on where and what you shoot, HDR could make such a huge difference that the cameras essentially don't cut at all. Imagine cutting to B-cam and suddenly the skies go from dramatic dark clouds to completely blown out. Or suddenly all the shadows are completely black.

Since this is a new technology and essentially a first for moving images we will have to see where it goes, but it could be that Scarlet is going to be a better B-cam than Red MX.

 

[paul engstrom]

I agree re: the HDR. In my mind, that removed an MX Red1 from being a truly viable B camera on a lot of projects. From a producer's perspective, if you're renting an epic or scarlet for A camera you at least want the option for HDR and the various motion capabilities of the new cameras for the B camera. Time will tell.

 

[Brian Petrie]

Scarlet s35 with HDR would be a great B cam and as their currently priced also cheaper than an R1.

 

[Nir Shelter]

Depending on where and what you shoot, HDR could make such a huge difference that the cameras essentially don't cut at all. Imagine cutting to B-cam and suddenly the skies go from dramatic dark clouds to completely blown out. Or suddenly all the shadows are completely black.

As far as DR goes very true in hi con situations. But in controlled lighting environments and in the hands of a good DP with extensive knowledge of the usable DR. I think that a MX will be able to serve as a good B cam.

Surely this was discussed before, but I ... I mean will files will be also R3D and can be put on the same timeline for both cameras.
What other issues may arise from using both cameras for the same project.
Thanks.

For as far as geometry and format go there should be no major problem in mixing footage from both cameras.


I worked on a feature this year shot on an MX very well established DP a few major talents and a very good production. We strapped a 5D to the side of a car window as a B cam for the internal moving car shots. Sure the internal car footage didn't have the DR of the MX but once graded the footage looked similar enough and most were quite pleased with the result.

I don't recommend using a camera with less of a DR but if necessary when used correctly it could work quite well.

 

[Michael Morlan]

The Epic's HDR mode is a fine addition and welcome when a DP is faced with a setting with uncontrolled light - aerials of dark city canyons with sunlit rooftops, certain sheds with Texaco stations outside - but cinematography is more than simply cramming as much visual information into the exposure as possible. It is about making creative choices that include, amongst other things, purposely stressing the recording medium - letting that window blowout, crushing details in the blacks, etc.

I look forward to testing and using R1 and Epic side-by-side.