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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 Dynamic Range...

Jannard said:
Today... we tested EPIC dynamic range with the following test systems:

1. DSC DX1-102db v1 OSG chart

2. Stouffer chart

3. Arri DRTC

All tests show 13.5 stops or greater.

For those that missed my post on another thread... EPIC has a REDCODE mathematically lossless compression option (2.5:1) that records to onboard SSD module (not to CF).

Lots of good news going into NAB.

Jim

Jim
Click to expand...

Hi Jim, This is great news. Can you tell us more about the SSD Module - Approx record time etc.
 
Jannard said:
For those that missed my post on another thread... EPIC has a REDCODE mathematically lossless compression option (2.5:1) that records to onboard SSD module (not to CF).
Click to expand...
He he... all riiiiight. /quagmire

Don't ban me, bro!
 
Great news about the 13.5 Stops of Dynamic Range

The Epic camera system will be so freakin' sophisticated
that people will see rolls of "Vision 2" film stock hitchhiking
out of town. Heck, we may even see a few rolls of film stock
try to commit suicide.

Well.....perhaps I exaggerate a little.
 
:emote_head_explode:

Jim, please, if you are not saving it for the party, could you share the size of mathematically losses 5k 24fps?

This has to be #21! A Vegas/NAB announcement, and completely worthy of the mystery.
 
Brook Willard said:
Hey Jim, what's the data rate on 2.5:1 compression at 5K? Sounds like it's going to involve some back-end as well for loading.
Click to expand...

Backend is REDstation but it's important to remember that choosing the right REDcode rate for the right situations is key to a sensible workflow.

There's going to be a tendency to want to shoot at the highest redcode when a lower redcode is more valid and sensible.
 
Deanan said:
Backend is REDstation but it's important to remember that choosing the right REDcode rate for the right situations is key to a sensible workflow.

There's going to be a tendency to want to shoot at the highest redcode when a lower redcode is more valid and sensible.
Click to expand...


There will be exceptions, but I think that RC50 will be more than enough for most situations.
 
Can't wait to see. Also eager to find out what the fps limits are. thanks for sharing Jim!
 
May I ask?

1. How many minutes of lossless would you get on the "onboard SSD"?

2. Are the SSD modules hotswapable?

PS: cool.

David
 
Deanan said:
Backend is REDstation but it's important to remember that choosing the right REDcode rate for the right situations is key to a sensible workflow.

There's going to be a tendency to want to shoot at the highest redcode when a lower redcode is more valid and sensible.
Click to expand...

Very good points. I'm hoping that REDstation expands to faster connections than SATA... things like SAS and USB 3.0 [when it matures]. As data rates increase more and more there will be increased demand for faster transfer speeds. The laptop will be a thing of the past for loading quite soon...

When we're talking about higher frame rates, where will the bottleneck lie? In the data throughput or the ability of the camera to compress data at various levels? I'm wondering if 2.5:1 compression is more of a computational challenge than, say, 10:1 compression.

I'm absolutely thrilled that you guys have effectively built the "uncompressed" option some of us have been dreaming about into the camera.
 
Deanan said:
There's going to be a tendency to want to shoot at the highest redcode when a lower redcode is more valid and sensible.
Click to expand...

It will be impossible to get people in this indusrty to heed that excellent advice. Most folks will think they have to shoot everything at the highest quality all the time.

David
 
David Battistella said:
It will be impossible to get people in this indusrty to heed that excellent advice. Most folks will think they have to shoot everything at the highest quality all the time.

David
Click to expand...

Don't know if I wholly agree with that David. Recording RAW is RAW, that's the beauty. 10-1 is pretty sophisticated compression and satisfies the hell out o fus, and for those that need MAXIMUM WARP. Well we welcome the $.

I think waht's cool about what Cioni preached at Reducation was our responsibility to be good politicians when shooting Red.

Fit the workflow to the client, Caboose effect. Many of ours come back because we saved them $.

That all said, I hear ya on the "some people". I'll buy my next car with his obsession with uncompressed :)
 
Deanan said:
Backend is REDstation but it's important to remember that choosing the right REDcode rate for the right situations is key to a sensible workflow.

There's going to be a tendency to want to shoot at the highest redcode when a lower redcode is more valid and sensible.
Click to expand...

Is there a Redcode for Idiots Chart that explains the pros and cons?
 
Jason Ing said:
Is there a Redcode for Idiots Chart that explains the pros and cons?
Click to expand...

Yes, its called the CABOOSE EFFECT.

What is your deliverable? Film out? DVD? TV? Web? etc.

Once you know that, you simply work backwards from there
in determining best capture and for off-line/online workflow to accomplish
your deliverable.

Filmout with VFX = RC250 (read: most want as uncompressed as possible)

DVD/WEB/TV = RC28 -RC42 all work wonderfully depending on the speed of your home MAC system. Laptop? Desktop? etc.

PRORES4444 finish from 4K FUll RED Rocket™ Debayer?

R3D RAW Camera RGB/Redlog full 4K online finish on the Pablo?

All Budget dependent. Know your target deliverable, work backwards from there... Red is as simple or as complex as you want to make it.
 
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