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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 :)

Introducing Epic-W 8K

Jaimy Soares said:
On the specsheet it says 6:1 max at 8KFF 24fps.
What I think is when setting are yellow there is something going on you need to check. With compression however normally the ones you can't use are greyed out.
Maybe that's not working on this firmware. I would suggest keeping an eye on the color of the compression setting. White is good.
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The compression was not yellow. 5:1 Normal grey (8K WS RAW 25fps).
 
Todd Sansom said:
it says Full Frame next to each resolution, down to 2K. Which leads Tim Irwin (he noticed it and called me about it) and myself to think it is not cropping.
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You are complicating it. The phrase full frame there is describing in pixels what the full frame of each resolution is, followed by the other aspect ratios. It is not saying "full sensor". It is stating the base aspect ratio.
 
Andy Roberts said:
You are complicating it. The phrase full frame there is describing in pixels what the full frame of each resolution is, followed by the other aspect ratios. It is not saying "full sensor". It is stating the base aspect ratio.
Click to expand...

so crop it is if what you're saying is right.
 
Damian Horan said:
Is there any word on an Epic-W 6K version? I like the option of the Epic-W 8K Helium but I hate the fact that the crop factor is so horrible. I can't imagine too many productions being able to afford or want to shoot in 8K and if you go all the way down to 4K, then you are now getting a 1.6x crop factor!? Would love to see the price point of a Epic-W 6K.
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6K Epic-W is essentially the Weapon CF or Forged but with a smaller data rate. Until last week, there was the Weapon Mg. That is apparently the camera you wanted, so you should have bought it then :). But Red has made it clear that putting a Dragon sensor in the Epic-W will be possible down the road, just not right now as the Dragon demand is beyond supply.
 
Todd Sansom said:
so crop it is if what you're saying is right.
Click to expand...

As Andy has said, unless RED changes their philosophy and their technology, every time you see a resolution that is less than the full sensor, it means it will be cropped. Long ago RED denounced the idea of line skipping and/or pixel binning to achieve a certain resolution. It's one of the things that makes REDraw superior to the output from a Canon 5D or other cameras that employ these techniques. It just is not in RED's DNA and, if I am not mistaken, might not even be possible given the way REDcode compression works.

The introduction of ProRes in DSMC2 was, to some degree, a watershed for this. It did introduce the idea of an output that was "scaled" from the R3D that was being shot. But, even there the caution is that the FOV of the ProRes will be the same as that of the R3D, which, of course, might mean a crop from the full sensor.

Hope that helps. Some times it's good to know when you can count on something "never" to happen. :-)
 
Terry VerHaar said:
As Andy has said, unless RED changes their philosophy and their technology, every time you see a resolution that is less than the full sensor, it means it will be cropped. Long ago RED denounced the idea of line skipping and/or pixel binning to achieve a certain resolution. It's one of the things that makes REDraw superior to the output from a Canon 5D or other cameras that employ these techniques. It just is not in RED's DNA and, if I am not mistaken, might not even be possible given the way REDcode compression works.

The introduction of ProRes in DSMC2 was, to some degree, a watershed for this. It did introduce the idea of an output that was "scaled" from the R3D that was being shot. But, even there the caution is that the FOV of the ProRes will be the same as that of the R3D, which, of course, might mean a crop from the full sensor.

Hope that helps. Some times it's good to know when you can count on something "never" to happen. :-)
Click to expand...

Spot on:)
 
Dominik Bauch said:
+1, is there any more info on DR and highlight retention? Would be amazing to have some VS Dragon comparisons to help get an idea of this game changer.
Click to expand...

I've been looking but haven't found any more info on the native ISO for the Epic-W... anyone have a clue?
 
Terry VerHaar said:
As Andy has said, unless RED changes their philosophy and their technology, every time you see a resolution that is less than the full sensor, it means it will be cropped. Long ago RED denounced the idea of line skipping and/or pixel binning to achieve a certain resolution. It's one of the things that makes REDraw superior to the output from a Canon 5D or other cameras that employ these techniques. It just is not in RED's DNA and, if I am not mistaken, might not even be possible given the way REDcode compression works.

The introduction of ProRes in DSMC2 was, to some degree, a watershed for this. It did introduce the idea of an output that was "scaled" from the R3D that was being shot. But, even there the caution is that the FOV of the ProRes will be the same as that of the R3D, which, of course, might mean a crop from the full sensor.

Hope that helps. Some times it's good to know when you can count on something "never" to happen. :-)
Click to expand...


^ Good shit
 
Kevin D'Haeze said:
I've been looking but haven't found any more info on the native ISO for the Epic-W... anyone have a clue?
Click to expand...

Some interesting thoughts by Blair, a guy whose opinions and insights I respect immensely:

Blair S. Paulsen said:
FWIW, I think we need to move beyond ISO as an exposure reference. Traditionally the nominal ASA/ISO of a "stock" was a point in the exposure range where half the usable stops were above, and half below. The number of stops in each direction before hitting D-min and D-max being the latitude. The center stop was theoretically right at 18% gray (roughly 43IRE). Thanks to the naturally logarithmic nature of silver halide response to photons, the toe and shoulder flattened out in such a way that rating film stocks always included a bit of extension on the extremes if one cared to plumb them. Digital, not so much.

I would argue that signal to noise ratio (S/N) is a better index for digital sensors than ISO. Based on first impressions, the noise floor on Helium is 2 FULL STOPS lower than Dragon, perhaps even more. Proper empirical testing will be required to back that up, but if I'm roughly correct - this will open some options for low light shooting situations that were problematic on Dragon.

Cheers - #19
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I think it is fair to say it is "better" than what has gone before. And, of course, we don't et have the new Helium color science available yet, either. Right now, testing and experimentation might be the order of the day.
 
Thai Christen said:
I am not sure where to address this but I am running into some issues with my Epic-W.
Recording 8K WS RAW 25fps, 512GB minimag. After 7-10 secs I get Audio Buffer Error. Turned Audio off, same problem.

After another attempt, another error "Pease save log and send to Red" and camera shuts down.
What is going on? Anyone else who alreadyhave the camera have this issue?

Went down to 6K WS, after maybe 20 secs, "error save log ..., then camera shuts down.

Furthermore, Epic-W does not recognise GDU lenses.

Brent, Jarred? Any Idea?
Click to expand...

Hi Thai,

I'm sorry to hear about the issues you're experiencing with your EPIC-W.

The Technical Support team at RED would like to help you resolve this issue. Please submit a Technical Support request on support.red.com and attach the log file from this camera. We will forward the log file information to our Engineers for further analysis.
 
Is it possible to run the Epic-W via one Redvolt attached to the RedvoltXL module? If I recall from nab when the weapon was introduced, it was fine with the weapon but said it was a bad idea for the Epic Dragon.
 
Brad Harris said:
Hi Thai,

I'm sorry to hear about the issues you're experiencing with your EPIC-W.

The Technical Support team at RED would like to help you resolve this issue. Please submit a Technical Support request on support.red.com and attach the log file from this camera. We will forward the log file information to our Engineers for further analysis.
Click to expand...

Hi Brad, thank you so much! I really appreciate your quick response. Will do.
 
Terry VerHaar said:
As Andy has said, unless RED changes their philosophy and their technology, every time you see a resolution that is less than the full sensor, it means it will be cropped. Long ago RED denounced the idea of line skipping and/or pixel binning to achieve a certain resolution. It's one of the things that makes REDraw superior to the output from a Canon 5D or other cameras that employ these techniques. It just is not in RED's DNA and, if I am not mistaken, might not even be possible given the way REDcode compression works.

The introduction of ProRes in DSMC2 was, to some degree, a watershed for this. It did introduce the idea of an output that was "scaled" from the R3D that was being shot. But, even there the caution is that the FOV of the ProRes will be the same as that of the R3D, which, of course, might mean a crop from the full sensor.

Hope that helps. Some times it's good to know when you can count on something "never" to happen. :-)
Click to expand...

Thanks for sharing your knowledge. You too, Andy.
 
I can't seem to find an answer on this:

Does the rocket-x work to accelerate helium footage?
 
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