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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 :)

Everything you wanted to know about the EPIC Canon Mount

Mark Pugh said:
I'm flying off on Sept 11 to the wilds of East Java for a big shoot ... chasing motor cycles with helicopters, etc... I hope I've ordered in time.
The Canon lenses would be great.
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Will you drop into Jakarta.. Ill be there on the 1st sep. till the 18th.
if so drop me a line.
 
How about a Nikon mount ?
-A
 
Jarred Land said:
Wowzers. You guys really were serious when you said you wanted this mount.. almost sold the first batch out already :)
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Many of us think (and you too, I suspect) that the still glass can look amazing without the expense and weight of PL. I hope we won't have to spend too much time staring at new Epic waiting for mount. That would be actual torture.
 
How is the mount powered? I'm not seeing any cable or plugs so will it be powered somehow from the rear? Can we get some images?

Love the machine/tooling marks by the way.
 
James Brundige said:
Many of us think (and you too, I suspect) that the still glass can look amazing without the expense and weight of PL. I hope we won't have to spend too much time staring at new Epic waiting for mount. That would be actual torture.
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It's not so much about the ability of the still glass to resolve a good image, it's about breathing, flare, accuracy of barrel markings, quality of the mechanics, and most importantly, lack of proper focus control.
 
Joe Taylor said:
How is the mount powered? I'm not seeing any cable or plugs so will it be powered somehow from the rear? Can we get some images?

Love the machine/tooling marks by the way.
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From the back of the mount.. no cables. Power and Data rides over pogo pins directly to the brain. Same on all the smart mounts.

1314475067.jpg
 
Poi Boy said:
How about a Nikon mount ?
-A
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Nikon mount is still in testing... it has a longer development cycle due to the requirement of the Iris mechanics. Think October.
 
oops sorry guys don't know how the thread got closed for a bit there.
 
dang...any word on how many of these were in the first batch? I'd be curious to know how far down the waitlist I am for this thang...gone in 60 seconds...
 
Do the optional smart mounts come with some sort of case to protect pin contacts?
 
Hey Jarred,

Do you think it would be safe or realistic to have an epic-x body (4 lbs) with a Canon Mount, side handle and a redvolt battery (weight unknown) hanging off the back of a long lens like this? http://idigitaldarwin.files.wordpress.com/2010/05/canon500mm.jpg

I plan on having the touchscreen and redmote off camera and in my hands or on another stand for a lot of upcoming work.
 
How cool would it be if Zeiss came out with electric compact primes for this new canon mount :-) or does red have something up their sleeves.
 
Jarred Land said:
Nikon mount is still in testing... it has a longer development cycle due to the requirement of the Iris mechanics. Think October.
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That's only a few weeks away!

:emote_happyhappy:

Mike
 
Häakon said:
It's not so much about the ability of the still glass to resolve a good image, it's about breathing, flare, accuracy of barrel markings, quality of the mechanics, and most importantly, lack of proper focus control.
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IMO that's a very cine-centric analysis. Those drawbacks of 35mm still lenses for motion use are basically only drawbacks when 35mm still lenses are used in cine style production. But Epic and Scarlet are DSMC cameras, designed from the ground up to be used in not just cine style production, but also various types of EFP production (non-hardlined and hardlined), hybrid production, and 35mm still production. Breathing and flare are things EFP and stills shooters are familiar with and thus we're used to the "workarounds". Quality of mechanics? Still photographers and Red EFP shooters who've been using a lot of 35mm still lenses on Red are very used to the mechanics of those lenses - and the mechanics are not really a hindrance in those kinds of work. Accuracy of barrel markings and proper focus control? Huge numbers of Epic and Scarlet users will be working with the cameras in non-cine workflows, namely non-hardlined EFP, hardlined EFP, mobile hybrid, and stills - where operators traditionally sight focus the camera (no AC) or even use auto focus, or in the case of stills either sight focusing or using auto focus. Accurate barrel markings and proper focus control (long throws and FF) are critical in the cine style workflow, but nowhere near as critical, or quite often not critical at all in the EFP, hybrid, and stills industries - again because we're sight focusing or using AF.

Keeping the above in mind, mobility is usually very critical in EFP, hybrid, and stills work. Weight and bulk reduce mobility - thus the widespread use of 35mm still lenses on Red One and shortly Epic and Scarlet cameras among EFP, hybrid, and stills shooters. Cine lenses are big, heavy, require other big accessories (MB, FF), are quite expensive, and all that's the norm for the cine industry - but not these other industries that Epic and Scarlet will also be used widely for.

Quality of image? In my experience, me and my crews have achieved nearly as good of images, and in some cases as good of images, using 35mm still lenses on Red One and Epic as we have when we've used cine lenses - and the 35mm still lenses give us the critical mobility we need for our work, cost us about one tenth of cine lenses, relieve us from having to buy expensive cine accessories, fit our eye focusing workflow (and now even AF with this Canon mount and Epic), keep our crew size costs low, give us a way to effectively shoot stills when needed, and on and on and on and on...

A sweeping indictment that 35mm still lenses on Red cameras are somehow a bad choice or are full of roadblocks and hindrances assumes that everyone who uses these cameras shoots cine style. Nothing could be further from the truth. In fact the combined EFP and stills industry absolutely dwarfs the cine industry by basically every measure but amount of publicity. Massive numbers of Epic and Scarlet users will use those DSMC cameras with 35mm still lenses, and rightly so, because its simply the most logical lens and field workflow choice for the portions of the imaging industry they work in.

When the Red Electronic Lenses and mount are ready I also expect many Canon and Nikon lens users to quickly adopt the new RE lenses. They should be perfectly designed for the camera, have strong motors, etc.

Haakon, we're associates that go way back, and perhaps you already know all the overall industry nuances I itemized above. Nevertheless I think your post I quoted was very cine-centric, not really taking into account why so many Red camera users have been using 35mm still lenses on their Red cameras - and will continue to do so. Form follows function, square pegs for square holes, round pegs for round holes, and horses for courses. Its all good - everyone should use the mount and lens type that best services the parts of the imaging industry they work in - and these new Red cameras and mounts are giving a ton of us the diverse options we need.

Red Team - the new Canon mount rocks! Very nice work guys. IMO there's a huge demand for them. There will also be a big demand for the Nikon mounts when they're ready. Then there will be a giant demand for the Red Electronic Lenses and mount too. Why? Because all these electronic mounts unlock the entire field production and imaging potential of Epic for the gigantic combined EFP, hybrid, and stills industries.
 
I might be out of the loop but the info I'm looking for I can't find. It appears that both the PL and Canon mount are equals in materials and share identical prices. So is Red offering the option of lens mount choices for folks when purchasing their Epic-X? It would be a shame to moth ball a $2000 titanium PL mount but that's what's going to happen in my case.
 
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