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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 :)

F5/55

Gabe Conroy said:
Come on man, you say there's no proxy recording or non-crop 2k on the Epic, but you say there's raw on the F55? Double standard much? And if you're going to call Epic's 5k a true 4k, then you've gotta call the F55's 4k a true 3.2k. Plus you fail to mention the max framerates possible in full res raw (60p 4k vs 120p 5k).

The new Sony's look great btw, not saying anything bad about them. I personally think global shutter's a great thing.
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It was just a quick comparison. And as far as I know there is no proxy recording on the EPIC or 2K recording without cropping the sensor. Sony did announce 4K RAW recording via its AXS-R5 recorder. I was posting resolution formats not random bullshit pixel math so... target resolution is either 4K, 2K, or HD. And yes, EPIC 120fps @ 5K (full rez) vs. F55 60fps @ 4K (full rez).
 
The only thing I would love to have in my Epic is a global shutter. Congratulations to Sony on building a very impressive camera, I for one will be holding on to my Epic and eagerly awaiting the Dragon/Meizler. We all knew this would happen sooner or later. As Jim said, "competition is good" and I do believe that future offerings from Red will keep them very relevant for a very long time.
 
Why does Sony put their control interfaces on the viewfinder side of the camera? How does an AC access any adjustments when it is on an operator's shoulder?
 
Adrian Jebef said:
It was just a quick comparison. And as far as I know there is no proxy recording on the EPIC or 2K recording without cropping the sensor. Sony did announce 4K RAW recording via its AXS-R5 recorder. I was posting resolution formats not random bullshit pixel math so... target resolution is either 4K, 2K, or HD. And yes, EPIC 120fps @ 5K (full rez) vs. F55 60fps @ 4K (full rez).
Click to expand...

Fair enough, I've just been seeing a lot of hyperbole from people about how the Sony's compare to Epic. The Meizler module allows for recording non cropped 2k to DNxHD or ProRes, which as an extra module add-on is comparable to the R5.

I do agree they're very interesting to compare though. It's nice to see another company actually come out with some beefy specs.
 
Japanese companies that didn't understand the good features of RED after the past few years would go for the Sony for sure.
 
There's a lot of guys in the broadcasting and doc/reality scene that love their f3, but where having problems when they wanted to do something offbeat. i bet a ton of broadcasting & corporate shops will now buy a few f5's for their fleet of f3's, especially if it's below $25k. Some of these shops were starting too look at RED, my gut feel is that the f5 is so much what they all ready know, will be a real hard sell to move to RED now.
 
Spec-wise the new Sony and the Epic are pretty close...right now. But when Dragon comes out, if it has 16 stops as Red says, then I think you would be regretting a Sony purchase....knowing you could have got Epic and had the latest, greatest images out there. (as if Prometheus and Hobbit weren't already good enough)
 
I highly doubt that was Jim on the chat. My first reactions was "Someone's a joker...".
 
Sony finally made a serious move. Competition is good. I can't wait for Red's response.
 
First of all, the new Sony F55 is not out yet. Let's cross the bridge when we come to it.

Secondly, as Mark pointed out rightfully, the Meizler module is the key to Epics success. Many of us have been begging for solid ProRes support. We all know that this, and the very good reputation of the brand Arri made the Alexa so successful: the picture quality of Epic and Alexa are very similar, Alexa offers a little more headroom in he whites, Epic more resolution, fps and less weight.

Thirdly, it's not difficult to have an idea how Red can manage to stay in the game:

1. Lowering prices (already announced)

2. Add a ProRes/DnxHD Module Lite for 5k, besides the very interesting Meizler module which price-point of 13k is an investment many rethink at least twice.

3. Offer a sensor upgrade in the realm of 4-6k that delivers a tad more resolution because resolution is Red's USP and, off course, 16 stops of latitude.

The upgrade to overtake Alexa and Sony's new F55 spec's / workflow advantages should not cost more than 10 k all together. Red's customer base is very price sensitive. All hat should be ready to order in late spring with minimal backorder times.

Hans
 
It's funny how the menu screen looks like an Alexa.

Honestly I'd shoot on this camera over an Alexa any day. The form factor and size is killer compared to Alexa and all the older F series I think Sony got the hang of it. Whats crazy is that everyone is going modular even the 4K Panasonic VariCam dropping this coming NAB. Most AC hate modules cause every owner is gonna have their preference in build. Alexas come the way an Alexa comes no need to seek for details, if AC's don't keep up they're gonna have a hell of a time.

This will be great for TV and broadcast.

how it will effect the Red market not by much, like Jim said earlier 90% of the indi market is RED. These cameras are in no way indi when it comes to owner ops, maybe the F3 but not these.

this is great news for Sony guys but me I can care less.

so whats left for Dragon Epic...

-Global Shutter
-Built in ND
-Higher Frame Rates?

-LowEnd ProRes DnX Proxy module so we can put the RedRocket to sleep

sorry i'm just sick of "you know someone with a rocket?" such a production set back and you usually loose jobs cause they're hard to find for a descent rate. This module should be under $2k

after these things get addressed we should be good to go til the next battle
 
Cid J Salcido Uyarra said:
It's funny how the menu screen looks like an Alexa.

Honestly I'd shoot on this camera over an Alexa any day. The form factor and size is killer compared to Alexa and all the older F series I think Sony got the hang of it. Whats crazy is that everyone is going modular even the 4K Panasonic VariCam dropping this coming NAB. Most AC hate modules cause every owner is gonna have their preference in build. Alexas come the way an Alexa comes no need to seek for details, if AC's don't keep up they're gonna have a hell of a time.

This will be great for TV and broadcast.

how it will effect the Red market not by much, like Jim said earlier 90% of the indi market is RED. These cameras are in no way indi when it comes to owner ops, maybe the F3 but not these.

this is great news for Sony guys but me I can care less.

so whats left for Dragon Epic...

-Global Shutter
-Built in ND
-Higher Frame Rates?

-LowEnd ProRes DnX Proxy module so we can put the RedRocket to sleep

sorry i'm just sick of "you know someone with a rocket?" such a production set back and you usually loose jobs cause they're hard to find for a descent rate. This module should be under $2k

after these things get addressed we should be good to go til the next battle
Click to expand...



How about a full-app sensor for true anamorphic ? ALEXA is still the only game in town...
 
The bult in ND and Global will make all the difference to some people. Global will help VFX people tremendously. The ND will just be convenient.
 
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