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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 images...

Eisen Feuer said:
I'm a firm believer that all the effects and styrofoam sets and lights in the world cannot replace authenticity, and the need for a camera's ability to capture it.
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Possibly, but then one of the most successful shoots I've ever done was lighting HMI to T8 and stopping down the Cooke lenses to underexpose it. It had such bite and pop using the lens in the middle of it's range. Sometimes the artifice created is worthwhile. Ideally the audience never perceive the effort that went in.
 
The RED Studios saloon... They have there own saloon... :yesnod:
Wait a moment. Jarred wrote ones in this post
(http://reduser.net/forum/showpost.php?p=516973&postcount=1) that Jim was deep in the bunker.
Now we know what he was building, his own saloon. Well done and a very nice place to relax after the hard work you all have been doing.
Thanks... can't wait but I have to wait...:cool:

PS : The shots of the camera where taken with... Scarlet Fixed,... :wink:
 
Erwin Vanderhoydonks said:
The RED Studios saloon... They have there own saloon... :yesnod:
Wait a moment. Jarred wrote ones in this post
(http://reduser.net/forum/showpost.php?p=516973&postcount=1) that Jim was deep in the bunker.
Now we know what he was building, his own saloon. Well done and a very nice place to relax after the hard work you all have been doing.
Thanks... can't wait but I have to wait...:cool:

PS : The shots of the camera where taken with... Scarlet Fixed,... :wink:
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If only Yul Brynner were still alive, they could remake Westworld with that saloon and imagine how that would look on an Epic :)
 
Good stuff. Look forward to when RECON has posts like this about the 2/3" Scarlets. :smile5:

Until then, good luck with the EPIC rollout.
 
Jannard said:
Stills will go much higher than REDCODE 42.

Everything is about data rate and speed/capacity of the recording media. That leaves a lot of options open.

Before we got the SSD working, we recorded 5K 2.37:1 at 120fps to CF! (about REDCODE 10) Images looked pretty darn good! :-)

Jim
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Jim, regarding Redcode 10 (or something similar).

This is an option I would really want to see on the Epic and Scarlet.
I would of course most of the time use higher framerates, but I can think of some situations where that would become handy.
Situations where you're on the verge of shooting with a cheaper more compressed camera than the Red.

Situations like documentaries where you have to shoot hours and hours of footage every day for weeks, but yet with a very small crew, in remote locations and a limited budget. If you shot a doco on Recode 50, you might quickly end up with Petabytes of data, which is just impossible to manage and to pay for. I've shot a few of these, so I know what I'm saying. EX3 footage was manageable. Redcode 50 (or 36) wouldn't have been.

I think you'll agree that even at Redcode 10, Epic or Scarlet footage will look so much better than anything you could shoot with an XDCAM or P2 camera...

You have made Epic and Scarlet light and compact enough for them to be perfectly usable for documentaries. That extra option would make them perfect. Sometimes, you have to make compromises.

If you're scared that people will use Redcode 10 for everything without a good reason, just add a warning in the menu when the user selects it. That way he won't choose it by mistake.
For instance, 2K RAW looks bad compared to 4K RAW. But you still give people the option of shooting 2K at 25 fps if they want. Please give us that option for bitrates too.

Thanks. :smile5:
 
Jarred Land said:
The monitor out overlay has alot of simulated bits in it still.. that is one of them ( along with audio and some other graphics ).

But, on Epic you can manually program into the camera metadata things like F-stop and Focal Length on lenses that do not send data to make sure that info is there all the way down the road.
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I hope that will also be available on the scarlet S35 right? :/
 
Jannard said:
Before we got the SSD working, we recorded 5K 2.37:1 at 120fps to CF! (about REDCODE 10) Images looked pretty darn good! :-)

Jim
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I bet this is gonna be widely used by those finishing at 1080p and with not enough budget for an SSD module. That is so cool... such a versatile system!

It's like you literally made the camera everyone dreamed of, we just need to slowly realize and and learn accept that.
 
Jannard said:
People are too funny. I hear "RED is too compressed". Then the same people see the footage on a 4K projector and say "That is the most incredible footage I have ever seen." Like they forgot the projected footage was shot with REDCODE. Unbelievable. I'm starting to get over "people".

Jim
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getting over "people" is key. follow your gut. your on the correct path and your winning. :)
 
Jarred Land said:
1271054964.png
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The gradient feels like there's a light flaring your eyes.

:nono:
 
Perhaps Redcode 10 should be relabeled

Perhaps Redcode 10 should be relabeled

How about relabeling Redcode 10 as "Competitor Emulation Mode":smile5::smile5::smile5:

Marcus Irvin
 
And I'm sorry for being rude, jumping in this amazing thread and just criticizing with few words, lol.

Congratulations RED team, seeing that image of the EPIC with modules and the REDMote working is just awesome, you guys did it!

This system is the dream camera everyone always wished for... Keep improving and competition will have a hard time, seriously hard.

RED way of business is the future indeed.

PS: Awesome images of the saloon! Me likes the hostess one, top notch.
 
Another question... Will the Canon & Nikon mounts allow for control of aperture on lenses that don't have aperture rings? What about using Sigma, Tamron or Tokina lenses with Canon & Nikon mounts?
 
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