new Epic render...

[Mads Rosenkrantz Grage]

Looks better than ever. A few comments:

- Please make those LEMO key positions better than on the RED ONE. 4-5 o'clock on the back connectors and side connectors would be perfect

- Please make sure the BNC sockets accept twist lock connectors

- Would it be possible to implement reverse scan (Image flip) in the monitoring chain this time round?

-Please ship 1000 EPIC's per week.....

 

[Daniel Reichenbach]

I don't hate you... I've always liked you.

Jim

Oh, thanks, that makes my day ;-) By the way, got my second RED2222 some days ago, I would NEVERever go back to film, so that should be clear. The picts of RED .... oh I love them. So from the technical side, I'm very happy. I will buy the EPIC, of course. So if I can help improove the design for the daily use of the camera, I'll do, because at the end, I'm very egoistic: As a daily user in a lot of different situation in a small team (Europe is NOT Hollywood, so in a daily use it is hard to have a focus puller and three assistents in every budget) I would like a camera, that helps me, NOT to brake my 50 years old back. I fully understand the problems you have guys. There is no more filmbox in the back, so, some of the counterweight is gone, and on the other hand to move the balance of the shoulder mount more to the front, gives different problems (lens, position of EVF ASO). So from that point, to find a solution – not easy.

And by the way: I like you a lot, Jim, I admire, what you and your team is doing, how you revolutionize the filmindustrie. Glad, to be a part of.

 

[Spinflight]

Just whipped this up in Photoshop. Am I getting close?

 

[Sam Winzar]

I'm pretty sure Jim understands everyone's concern over where the centre of gravity is, but based on Jim's comments it seems like the camera vitally needs a block below the sensor to house the cooling system.

 

[Pawel Achtel]

The only concern I have is about what looks like an integrated wedge and rod mount. I hope this thing is detachable and the distance from the bottom of the camera to the optical axis is exactly the same as in Red One: ~109mm. Otherwise underwater housing will need to be re-designed :ranting2:

For me (and I think many others) it would be much better if Epic was a simple swap with Red One and this will be the case as long as the base of the camera is same distance from the optical axis. :help:

Other than this it is a bad ass.

 

[Harry Clark]

Jim,
First let me say THANK YOU. The Red One is an incredible achievement. And I'm constantly amazed that your company does what few others do: listen to the customer's suggestions. THANK YOU for the $2,500 credit for us early believers. Kudos on addressing the accessory finish concerns, the lens mount upgrades, the forthcoming audio board swap and i-data upgrade. And giving those of us who want to step up to Epic the option of a full credit on a trade-in of a Red One is certainly above and beyond.
I'm sure my sentiments echo those of many people posting in this thread.
So please take their suggestions as constructive. When you say, "we are pretty well done here" it sounds like you're giving up or are tired of hearing it (I know you're not; just exasperated at us whiny film guys)
But Brook's and Ian's laments about the CG when handheld are well-founded. We're getting into increasingly lighter cameras and media, and ironically, increasingly heavier lenses. The ability to offset the weight of a Master Prime is tricky for sure. And Ian's right; the CG needs to be adjustable because lenses have different weights. I actually think Spinflight might be on to something with his render... unless it once again RAISES the optical center and CG. Ian's "flip the camera" idea is good too, assuming cooling needs do not prohibit this.
So please Jim, take the comments here in the spirit which they are given: helpfulness. We all want Epic to succeed and be our next camera. Plus, isn't it easier now when it's just CAD drawings and resin mockups? And it's SO close. You're at the goal line here.
On the plus side, the connector layout and breakout box looks FANTASTIC. Moving the power and drive sockets to the side is really smart.
The flat top of the body makes for some flexible layout options, and low-mode on a Steadicam should be a breeze. The top would also be an excellent place for a wireless focus receiver and video transmitter when going handheld. It's never a bad thing to have a lot of mounting surface!
Looking forward to the development of this camera.
And again, THANK YOU.
Cheers,
Harry

 

[Ed Wes]

Well done!!! Looking at the render, I wonder if when mounting the battery on the back with the control panel on the left side, which would be my preferred documentary configuration, if access to the CF card (and now that I take a second look, the back row of cable sockets on the side) would not be restricted by the battery.

It is most probably not feasible, but if the CF card could move with the control panel(or a second CF port)...alala. In those frantic documentary situations, when all hell is breaking loose around you and one needs to move like the wind or those intimate moments where the slightest movement intrudes, the ability to change media without removing the camera from ones shoulder would be spectacular.

With regard to the placement of the cables, if not absolutely perfect this is a huge improvement. The countless faces of sound recordists distorted by anguish/anger as I butted their delicate XLRs into the dirt for the umpteenth time, flash through my mind.

With reference to limos, return cables and breakout boxes, I have often wondered why in this day and age the sound recordist cannot get a video feed of their own. I can only imagine the look of anguish/anger that countless sound recordist have seen when their boom intruded into shot at the critical moment. They would also be able to see an accurate camera sound level meter.

Personally, for documentary work, I like the handheld ENG type configuration, with the motorized zoom housing on the canon/fujinon lenses that rests on the palm of the hand leaving the thumb and the fingers to operate the record button and zoom, that leaves the left hand free to juggle focus pull, aperture pull and manual zoom (paralleled with grip accessories in film by Aaton and Arri to some extent). With the left elbow tucked in securely against the torso and the camera tucked in against the neck and cheek, a very flexible yet stable handheld position is possible, often more stable than the dinkycams with their built in stabilizers. Yes, I am old school and yes dinkycams can be amazing but they can be frustrating. If these are the type of accessories that Brook is talking about re the riser etc, I am not sure that I understand why the present situation would inhibit "the most badass handheld rig ever". By the way Brooke, thank you for you untiring concerns about the ergonomics. You articulated many of my concerns since that magical moment I managed, here on the southern tip of Africa, to lay my hands on Red One a couple of months ago.

I still have some concerns about loops of cables, to the monitor, to the drive, to the battery and to the viewfinder. Their propensity to get caught on things is obvious. I realize that this is partly the bye-product of flexibility, but I wonder if some thought about the cables and the sheathing materials used (softer more pliable and less elastic), some strategically placed clips on the body and arms and some right angled plugs might not help.

I am not sure why anyone, having seen this new layout for the cable sockets, would want to return to the old and why this would be an optional breakout box and not the standard configuration.

To the Grand Master and his mostly invisible ninjas thank you for making it happen. Working from the inside out, from the logic of the boards, the components etc has its own logic and creates its own vision. Working from the outside in, from the needs of day to day shooting creates its vision. We do not want to buy another camera we want your camera to be all that it can be, synthesis.

Wow, I have just seen Spinflight's fight of fancy. If the components can fit....

This process of design will soon be written up in books. Red will be the definitive case study. I am glad I am here to witness it.

 

[Peter Majtan]

That right-side render looks great Spinflight, however I can't help myself but to bring this up: Based on my experience with both the Aaton and the 235, when You slam on some of the wide-front lenses the viewfinder tends to get in the way. With the Epic body this far back on one's shoulder - wouldn't this create the same situation, especially given the monstrous size of the RED's EVF? Even if the EVF didn't touch the lens, it would most certainly appear in the corner on those wide shots...

Just my two pesos...