M8 (aka 008)...

[Steve Gibby]

Wow, I thought the canyon shots with lots of shadow/sunlit areas had were at least mildly HDRx™™™-ed. What time of the day did you shoot them?

I shot the driving canyon shot at around 3pm, the right to left canyon pan shot on a previous day at around 4pm, and the tripod lockdown speed ramped shot at around 5pm that same day. I used no HDRx™ at any time during our Utah production. I really wanted to see what the native sensor performance was - and it performed incredibly well.

I didn't even use HDRx for the tunnel driving sequence - again I wanted to see how the native sensor handled a challenge like that - and it did remarkably well. HDRx is there if you need it, but even in the few days I shot the camera that week it was very clear to me that the native sensor has excellent dynamic range.

 

[Steve Gibby]

Thanks for that added insight Jim...

When Joseph mentioned that he had boosted the audio, he's naturally referring to the audio level on his Z1, for the behind the scenes video he was shooting for us. Also, because I was shooting in cool temperatures at 5,000' to 10,000' I never even bothered to experiment with the fan settings. Once I did start checking out all the camera's menus, I was impressed with how many different fan settings are selectable in the menus.

Audio was not enabled on Epic M8 as I shot with the camera.

I regularly shoot out in the elements, the whole range from tropical heat to alpine cold. As Jim has explained, all bases are covered there.

I don't have an answer on shooting duration for shooting the Red Volt batteries in the grip. The only battery option we had that week was Red Bricks, which lasted an incredibly long time. When the Red Volt batteries and the Bottom Grip are both available, I'll probably use that setup, with a RV battery in both the Side Handle and Bottom Grip for most of my mobile shooting needs, thus keeping the rig weight as low as possible, and the camera form factor as streamlined as possible. When I know I'll be on tripod for long periods of time shooting long-form programming, I may then use Red Bricks.

 

[Mike 'Fireman' Ross]

I noticed on the video, even in a room, the fan noise - until you hit record - was a bit loud. So, Im wondering what if one is shooting in the Bahamas in 100 degrees for 1 hour with no or little breaks... am I gonna fry the camera?

Your problems with heat are nothing to my problems with heat! :lol:

Mike

(not me in the photo; I don't have any good shots of me at work!)

 

[Steve Gibby]

Impressive all the considerations and settings you guys have built into this little nuclear matchbox

Very true Anthony...

The cool thing is that even with all the increased features and capabilities Epic has, its really not a complicated camera to shoot with. For the genres someone shoots in, they'll quickly get used to the features of the camera they normally use. Then for the odd or different genre or setup, the menus of the camera and the GUI really intuitive - and very similar in menu to Red One, except a lot more options in the menu folders. The camera does a lot of things that you may seldom use, depending on the range of styles and genres you shoot in - but you know those other features are there, and you can get to them quickly of your need them.

From what I've seen so far, Epic can be as simple or as complicated as you want it to be. The bottom line is that at some point if you want to learn the camera in real world field use you simply need to get over the intimidation of using the camera, set it up for some familiar genre and style of shooting you regularly do, and just head out and start shooting. Once you do, the intimidation factor lessens quickly and you really find yourself getting your workflow comfort zone - and you then find yourself grinning more and more as you discover new things to try, and especially when you see the results :thumbup1:

 

[Mike 'Fireman' Ross]

Steve, apologies if this has already been answered, but in your copious free time, have you managed to determine the maximum effective range of the REDmote in unobstructed outdoor situations?

Thanks

Mike

 

[Steve Gibby]

Hmm...I don't have an answer for that Mike

The camera was just here for four days, including the un-boxing day. Then Ketch took it with him back to California so he could prep it for some other shooting down there. While it was here the crew was super busy traveling, shooting, and processing files, so I didn't specifically test out the maximum effective range in un-obstructive outdoor use.

I'm sure Red can easily answer that though...

 

[Greg Voevodsky]

Thanks Jim. Here's an idea for your settings.

How about adding a SETTING for HOT / NORMAL / COLD ?

Maybe the camera does it by itself but I do not want to override the camera and damage it.

I guess that is my last question - will the Camera shut off and protect itself from both HEAT STROKE and or MOISTURE in the tropics - specifically Scarlet shooting 2k 30fps for 30-60 min takes in 100 degrees with high humidity.

I've taken cameras out of air conditioned hotels / cars - tried to warm them up... in the trunk - unpacked, only to remove the lens cap an hour later in 100 degrees to see both the lens form condensation and worse maybe the camera might have. I would then let the camera sit in the sun for half an hour to dry out and warm up. This happen both to my EX-1 and Nikon camera's despite my best efforts to warm them up an hour before shooting.

Any suggestions would be greatly appreciated too.
I'm gonna buy a white umbrella thanks to Jim's advice now.

 

[Jannard]

The camera has a visual warning when it gets near "meltdown". Then the fans come on and gradually go faster if the temp keeps rising. Then you will get a camera shutting down message, then it will shut down to protect itself. No surprises. Now... this all takes some special conditions... like very hot and extended recording.

EPIC is a joy to work with. Read from those that have one. Remember, it is what we CAN do with our tools, not what we CAN'T.

Jim

 

[Greg Voevodsky]

Thanks Jim. What about humidity?

I'm sure going from cold snow to hot - ski lodges - and back to cold - can damage or short circuit things when dampness happens...

And visa versa - nice cold cars or hotels to hot 100 degree beaches.
How is RED's humidity safety features?

Is there a warning?
and or auto shut off like Old Sony DV tape cameras that sensed the humidity and shut off to save the camera and tape?
Im sure Im not the only one who wants to push this small camera to extremes.

Also Jim, since I had reserved red 1 #217, but passed since sound wasn't ready and it wasn't quite what I wanted... ie Scarlet or Epic.... any chance I could buy one of the full functioning Scarlets? I want to res-hoot my Caribbean Beaches DVD and have been waiting to do so for your camera. My EX-1 did ok, but sucks at sunsets - plumming and its too big for foreign carry on limits under 25 pounds.

Like Gibby, I would shoot world class beaches with Scarlet, ASAP. thanks.
FYI - I have 50k views a day on one of the largest youtube nature channels - wavesdvdcom.

I would like to shoot and promote Scarlet footage ASAP and sell a lot of Blu-Rays like I did with my Sony Ex-1 for HD HAWAII BEACHES - the #1 Hawaiii Blu-ray and DVD on amazon.com. I cant wait to upgrade to Scarlet!!!! Please let me know. I want to be your Gibby for Scarlet, and I was one of REDs first supporters... I am still waiting to join the party.

 

[Jannard]

Greg... the R1 has been shot in the most extreme conditions, including highest humidity with no issues. EPIC should be the same. I was on the set of Ché in Puerto Rico and choked from the humidity. No problems whatsoever with the footage. And that was very early on.

There are people using RED in every extreme while others fret about what might go wrong. My suggestion is to just shoot. Stop worrying about what might go wrong and embrace what will go right.

And tape!?!?!

Jim

 

[Lee Saxon]

So after seeing Steve put a $70k camera on Miller 1505 sticks, I figured they must be good enough for my little HDSLR rig and bought em.

They are unbelievable. Sturdiest tripod I've ever used. Comes with a shoulder strap that is nicer than the $50 neck strap I use on my main DSLR to shoot sports for hours at a time with an 8lb lens...

Now I'm gonna feel like an amateur every time I use my stills tripod setup (a Really Right Stuff Versa 33, no slouch itself).

 

[Steve Gibby]

Glad those Miller 1505 CF legs are working out for you Lee. I've been using them for years now with Red One, and as you mentioned, I now use them with Epic. They're strong and lightweight - perfect for helping keep me mobile.

The heaviest Epic setup I've used was with my Canon 150-600, and that entire rig weighed just 26 pounds. The 1505 legs are rated for up to 66 pounds, so I never even expect to get close to that with the mobile loads I use.

The Miller 55 head/Miller Solo 1505 CF legs combo is basically my tripod rig for mobile outdoor work. The heaviest head load I've ever had on my Miller 55 heads was a rig weight of 55 pounds in Hawaii in December 2007, when I used one of my Red One cameras with a fully tricked out Angenieux 24-290. That lens weighs 25 pounds alone, before even adding the matte box, etc. The Miller 55 head handled it perfectly as I panned and tilted all week closely tracking the pro surfing action at Pipeline. I didn't have the 1505 legs yet, so with that load the legs I used were Miller Single Stage Alloy legs (Mid-spreader). They worked great for that. Now when I don't use the 1505 legs (which isn't often), I use the Miller Sprinter II 2-Stage CF legs (mid-spreader).

My Epic setups will vary in weight from a low of around 13 pounds, and go probably up to a high of 28 pounds with my longest zooms.

Again, I have no connection with Miller and never have. I just really like their heads and legs. IMO Miller heads and legs have some of the best performance to cost ratios in the industry.

I've attached pics of my Red One 55 pound Optimo 12x rig on Miller 55 head/alloy legs in Hawaii, plus my Epic M8 26 pound Canon 150-600 rig on Miller 55 head/Miller Solo 1505 CF legs in Utah. Yes...believe it or not I do occasionally use a matte box when I have to

 

[Peter Strietmann]

Your problems with heat are nothing to my problems with heat! :lol:

Mike

(not me in the photo; I don't have any good shots of me at work!)

And your problems with heat don't hold a candle to my problems with heat! The Red MXs had no problem in this environment. Can't say that for the lenses though.

 

[Gavin Greenwalt]

speaking of keys... have you shot any visual effects shots? if not, do you want to plan one? also, where is the key to life found?

Coming up...

Which compression ratios are currently available? A comparison between a 2:1 and a 5:1 redcode for chroma key work would be very insightful. It would be interesting to see how many of these artifacts I've always been annoyed by disappear with uncompressed and what previously impossible techniques could be employed.

 

[paulherrin]

Which compression ratios are currently available? A comparison between a 2:1 and a 5:1 redcode for chroma key work would be very insightful. It would be interesting to see how many of these artifacts I've always been annoyed by disappear with uncompressed and what previously impossible techniques could be employed.

i think all the way to 2:1 may be enabled already... but obviously i haven't touched one yet or i wouldn't even be on the internet right now. yeah, i would say even at 5:1 we'll be pretty much in there to do whatever we want with the image.

 

[Michael Thornton]

i think all the way to 2:1 may be enabled already... but obviously i haven't touched one yet or i wouldn't even be on the internet right now. yeah, i would say even at 5:1 we'll be pretty much in there to do whatever we want with the image.

I think you are right Paul.

10:1, 5:1, or 2:1 RED CODE is more than enough because as long as we can get 4:4:4 samplings that's all it matter.

Most software today are working in 4:4:4 Y'CbCr or 4:4:4 R'G'B' any way.

Until the day when we can do Visual FX with RED CODE RAW, I believe we have enough data to beat most film scanners images.

 

[Lee Saxon]

Steve why'd you go with the Arrow 55? Sounds like with the weights you're talking about you would have been fine with a much less expensive head, maybe even as small as a Compass 20...

 

[Gavin Greenwalt]

10:1, 5:1, or 2:1 RED CODE is more than enough because as long as we can get 4:4:4 samplings that's all it matter.

2:1 is mathematically lossless--so it better be enough.

I'm most interested in what the blue channel looks like with 2:1. It has a tendency to really pick up wavelet artifacts and bork keyers from time to time in really subtle semi-transparencies.

 

[Roberto Lequeux]

I remember lossless as being slated to come in at 2.5:1.

What is a bork keyer?

 

[rod bradley]

Just to chime in with Steve, I too think Miller heads are outstanding. And the arrow 55 is one of the lightest heads out there, if not the lightest in terms of the weight it can handle. Plus, they, like Oconnors, are incredibly robust.