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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 :)

Official NAB announcements...

Tom Cheater said:
Gotta say Ted Schilowitz's remarks over on cinema5d.com at NAB are so arrogant red sometimes makes apple look humble
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That's a rediculous remark. His comments are a simple summary of the truth, said very politely and with no attitude at all. I have intercut Canon and Red footage and there is no comparison between 4k raw and H.264. That Internet codec if carefully handled, can make passable 1080. I use my two Canons when needed for Super light weight or shooting where video cams are not permited, but don't fool yourself about their marginal resolution and limited dynamic range. I'll sell them to you cheap as soon as Scarlet comes out.
 
James Brundige said:
That's a rediculous remark. His comments are a simple summary of the truth, said very politely and with no attitude at all. I have intercut Canon and Red footage and there is no comparison between 4k raw and H.264. That Internet codec if carefully handled, can make passable 1080. I use my two Canons when needed for Super light weight or shooting where video cams are not permited, but don't fool yourself about their marginal resolution and limited dynamic range. I'll sell them to you cheap as soon as Scarlet comes out.
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Spot on. I don't see anything but the truth in there. There are times when I feel Ted is actually quite restrained. He really could hype the RED system up a lot more than he does and still remain within the realm of truth. The RED One and R3D footage impresses me over and over again every time I go back and revisit old projects with new software and color science. Every time I shoot some other camera and then go back to shooting RED or I intercut RED with something shot on a different camera, the RED stands out as something massively better and completely special. I'm 90% RED now when I shoot and a fixed-lens Scarlet or two will make me 100%. I'm so happy with the RED One MX that the Epic is just gravy...

Have to say thanks to Jim for the update. My quick run-through the NAB booth was just too quick. And I spent more time than I really had talking to Gibby, Ketch, Gavin and a few others I haven't seen face to face in a while. I sadly missed out on talking with most of the RED guys as they were getting mobbed by everyone else.

I do understand some of the frustration out there. It's been a long wait. For me, Epic can get here when it does... But waiting for those SSDs is starting to get painful. ;)

Oh yeah, the Tattoo film was cool. A bit quirky, but looked great.
 
Tom Cheater said:
Gotta say Ted Schilowitz's remarks over on cinema5d.com at NAB are so arrogant red sometimes makes apple look humble
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I am not sure if it was arrogant but it was a little off color. I think Ted needs to remember that not everyone can just drop $58,000 on a camera. Yes, he was stating a fact but I could walk up with an Imax camera and tell someone holding an Epic, "You think your dinky Red is a movie camera? This baby shoots 10K so suck it!" In a perfect world, we would all be running around with Epics but very few of us are actually producing content for theatrical projection so in some cases, DSLR's do the trick. They give a no budget filmmaker a chance to get a semi-professional shallow dof look at a fraction of the cost. Besides, as the Epic S prices goes up to $10,000+, I imagine that it will not be as popoular with the DSLR crowd as Red hopes. Yes, there is the Scarlet but I doubt that many DSLR die hards will be willing to give up their big sensors, especially if they don't need anything higher res than HD. Not criticizing, just stating a fact.
 
Jarred Land said:
and Plays DCP packages...

and BTW the Price is not set yet.

The drive bays are modular... so you can have 1.8" readers, CF readers, SD card Readers, 2.5" drives, and mix and match.etc. etc. etc.

Internal 3.5" drive.
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OMG thats great... an R3D and DCP 4k Player in one house... THX... I see the redrays installed in all 4k Theatres and feeding 4k projectors.... even the R3D Laser B3AMer :)

this is bad ass...
 
Andrew Rieger said:
In a perfect world, we would all be running around with Epics but very few of us are actually producing content for theatrical projection so in some cases, DSLR's do the trick.
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Didn't he say that though? It's not like he said Epic and Scarlet are better for everything. He kept framing it in the context of theatrical big screen presentation.
 
I'm amazed that anyone thinks Ted comes across as arrogant. Humble is more like it. If you need any affirmation of that, simply visit some of the other camera manufacturer booths.

And in an industry where $58K for a camera is considered *CHEAP*, I don't see what the deal is. It's always about the right tools for the job. The Epic is a steal, even if you buy it as an "M".
 
Man, there are some tightly wound fellas around here. Jim could gold plate these things and give them away for free and he'd still be insulting someone or another.
 
In all official announcements should I consider anytime Epic-X is stated, that also includes Epic-S35 (Production Epic)?
 
Bill Anderson said:
Man, there are some tightly wound fellas around here. Jim could gold plate these things and give them away for free and he'd still be insulting someone or another.
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Shhhhh! Jim's going to be well and truly pissed someone spilled the beans about the EPIC-G program!

Mike
 
Andrew Rieger said:
I am not sure if it was arrogant but it was a little off color. I think Ted needs to remember that not everyone can just drop $58,000 on a camera. Yes, he was stating a fact but I could walk up with an Imax camera and tell someone holding an Epic, "You think your dinky Red is a movie camera? This baby shoots 10K so suck it!" In a perfect world, we would all be running around with Epics but very few of us are actually producing content for theatrical projection so in some cases, DSLR's do the trick. They give a no budget filmmaker a chance to get a semi-professional shallow dof look at a fraction of the cost. Besides, as the Epic S prices goes up to $10,000+, I imagine that it will not be as popoular with the DSLR crowd as Red hopes. Yes, there is the Scarlet but I doubt that many DSLR die hards will be willing to give up their big sensors, especially if they don't need anything higher res than HD. Not criticizing, just stating a fact.
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It isn't as simple as you make it sound though. Every interview can be potentially seen by everyone out there. Red's clientele is broad, and a lot of it reaches far higher than the total cost than any DSLR setup you we could think of. Ted can't ignore the rest of the world on his message. Maybe people are perceiving a concern Ted may have himself about others misconceiving Red as a DSLR competitor just from being seeing him being interviewed for and by the DSLR audience, right in the middle of the NAB floor. I know I would be concerned. It is not easy to carry an image for an entire company of people, and I think Ted is as good as they get. You are literally cutting the guy zero slack if you get upset at him. Aren't we all on their side? The side of the company that leapt into the future by at least a handful of years? The company producing thing at attainable prices? Could you do better at what they are doing? It sounds exhausting just to think of it. How about we cut them some slack, check Recon, and party when they get here? 0.02
 
Thank you Jim and Jarred for the updates. I wish this would have been posted on day 1. It might have reduced the thrash a little. bit. But thank you for the update.

I truly am grateful, not only for the RED ONE, (just got my RPPs!) but what you have done to the industry. You have changed forever the ability of everyone to compete at the same level. That is truly remarkable.

I will wait patiently and respectfully, and be ready when called.
 
As always, thank you for the thorough explanation. I don't see any competitors doing much of anything, so I will continue to be patient until this amazing dream camera is ready. I've been there from the beginning, from the early DVXuser days, and I will continue to be in RED's corner until the mission to completely democratize filmmaking is accomplished. I believe in staying the course no matter how long it takes. That's how you achieve success. Thanks again for the positive update.
 
Roberto Lequeux said:
It isn't as simple as you make it sound though. Every interview can be potentially seen by everyone out there. Red's clientele is broad, and a lot of it reaches far higher than the total cost than any DSLR setup you we could think of. Ted can't ignore the rest of the world on his message. Maybe people are perceiving a concern Ted may have himself about others misconceiving Red as a DSLR competitor just from being seeing him being interviewed for and by the DSLR audience, right in the middle of the NAB floor. I know I would be concerned. It is not easy to carry an image for an entire company of people, and I think Ted is as good as they get. You are literally cutting the guy zero slack if you get upset at him. Aren't we all on their side? The side of the company that leapt into the future by at least a handful of years? The company producing thing at attainable prices? Could you do better at what they are doing? It sounds exhausting just to think of it. How about we cut them some slack, check Recon, and party when they get here? 0.02
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I don't think anyone views the Epic as a DSLR competitor, more like something that they hope to one day be able to afford. Anyone who thinks that DSLR's and Epics are in the same category has obviously not been around video and film production for very long. I am sure the cinema5d reviewer was well aware of the fact that the Epic is way above his DSLR in terms of price and performance. Just saying that Red should not look down on other gear. When Red was first starting off, it was often dismissed as a cheap and unreliable tool and was often dismissed by snooty pros used to their Arri's and Panavisions. It certainly did not feel good being talked down upon like the product you payed your hard earned money for was for wannabes unwilling to shell out for true professional gear. The same goes for Red's attitude towards DSLR's. At the moment, the best I can do is a GH2 with some old Ebay Nikon primes and a Zoom recorder. I'm don't have the cash to drop on an Epic or even an Epic S for that matter but I am here because I want to learn about the system. Yes, the DSLR thing has been propped up a bit too much and you know things are getting crazy when you see Angi 24-290's on 7D's but there are also people using them because they are the best that they can afford at the moment. I don't really need to be reminded that the Epic kicks the crap out of my GH2.

I'm not criticizing Ted but just reminding people that not everyone is able to pay for such exotic gear and in some cases, a 7D is better than no camera at all.
 
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VDSLR's are great... they helped change the industry. There is a place and a customer for every camera out there right now.

Our goal is to make cameras that are suitable replacements to Film as Film comes closer and closer to its well deserved retirement. RED aside... if someone tries to say the footage from any of the current VDSLR's is a suitable replacement for 35mm Film they need to have their head examined.
 
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