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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 :)

RED Roadmap...

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Someone said board swap on the RED MX... and it becoming what was formerly known as Epic-S. Someone else alluded to a post where it was said that the RED MX isn't over, yet, that there's more than a sentimental value in holding onto one's MX. And Jarred said that Phase Two people would be sorry if they don't keep their MXs, as per their deal. Meanwhile, Epic-X seems like it'll have playback soon, and we've all heard rumblings about this initial trickle turning into a tsunami regarding manufacturing and delivery.

All I can figure is, no matter what happens I get the tools I need to make films and client projects that'll help elevate the work and let me do the kinds of things I formerly wouldn't be able to do without visiting Panavision and begging stock from Kodak. And to me, that's 90% of what matters. Fun!
 
Sanjin Jukic said:
For example Sony call it New Products:...
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I think we all fully expect Red to announce new products - otherwise how will we order them?
But I don't expect them to announce the ones three or four years away. That's a no-no called the 'Osborne effect'.
PS I would certainly not consider Sony a company for whom bankruptcy is unthinkable...
 
Jim, put affordable, and I mean "truly" affordable 4K projection into people's homes and RED will be building cameras forever!
 
Stop thinking about all the little things you want, Scarlet this, EPIC-s that, backordered REDVolts, REDRay, whatever....

and instead magine a world in which all of these goals have been met and checked off the RED list, including Surprise #1 and #2

holey moley....

kind of boggling, innit?

the future is staring us, right in the face.
 
Am I correct in thinking that only the EPIC-X brains will be eligible for the sensor upgrade program, and not the EPIC-S (in whatever format it arrives in)?
Also will an EPIC body house a Monstro sensor?

If this is right, then in the spirit of RED (obsolescence obsolete) the EPIC-X is the brain to have (in the longer run), and anything less just won't do.
I am going to have to find a extra 20K.
 
Nathan VanderByl said:
Jim, put affordable, and I mean "truly" affordable 4K projection into people's homes and RED will be building cameras forever!
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I don't think that's a job for RED; they've made it abundantly clear they're focusing entirely on the pro market. A truly affordable (i.e cheap by pro standards) pro-level projector for grading suites... that I could see having a RED badge on it. But for affordable consumer tech... well they've got a LOT of valuable tech they could license; I don't think the truly affordable home projector will have a RED badge, unless it's next to something like a JVC badge and reads 'Powered by RED'...

I could be wrong; we'll see.

Mike
 
Tom Lowe said:
Jim, what about Full Frame 35mm 6K+ with 3:2 aspect ratio sensor? I don't see FF 35 on the list?
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I have a feeling the Dragon may have some answers to this :)
 
Christopher Fulham said:
Am I correct in thinking that only the EPIC-X brains will be eligible for the sensor upgrade program, and not the EPIC-S (in whatever format it arrives in)?
Also will an EPIC body house a Monstro sensor?

If this is right, then in the spirit of RED (obsolescence obsolete) the EPIC-X is the brain to have (in the longer run), and anything less just won't do.
I am going to have to find a extra 20K.
Click to expand...

Jim's on fire and all bets are off; EPIC-S has been quietly dropped from a couple of recent outlines of future plans, including todays roadmap. But Jim has said 'trust us' 'we know what you want'; apparently (but not explicitly) in response to EPIC-S questions.

So it could be *anything* which equals or exceeds the EPIC-S performance at the same price. Maybe they've figured a way to make EPIC-X cheaper, perhaps with a slightly reduced feature set. Maybe they've stuck with the lower-end S concept, but decided that Dragon will arrive in time for it to be in the (non-upgradeable) S from the get-go without making it toooo late, instead of saddling the S with the MX sensor permanently.

Hell if you're thinking blue-sky speculation, maybe the S replacement will be a more stills-oriented FF35 camera, with limited motion capability - shooting motion from a S35 window on the FF35 sensor, at EPIC-S frame rates and compression. Or maybe Scarlet is getting 4K ish and morphing into EPIC-lite Fixed & Removable.

Monstro? Maybe the nomenclature is changing and the Monstro name is now reserved for bigger than FF35 sensors. Who knows? Watch and wait.

I'll say this; anyone who has the cojones to put something called 'Monstro 617' on a roadmap has my admiration!

Mike
 
I am going to go with Scarlet going up to 5k MX S35, replacing Epic S and the complete shuttering of the 2/3rds program. Might as well throw out an outlandish guess :p
 
I've always thought the Epic-S was more stills oriented. Limited frame-rate, closer to DSLR price, lighter presumably. All of its features have always made it over-kill for stills and adequate for motion picture acquisition which is why the FF35 Scarlet was the perfect camera for me to own. So I do really hope that the two just get merged into one 3:2 FF35 camera. Then I can shoot 99% of narrative work (which is almost always 24/30fps) and also shoot fish-eye HDRs and lightweight canon location reference photos.
 
Jim's road maps are like the directions you get on a cocktail napkin; it's just enough to get from A to B. Call it a quick sketch. It's not meant to be all inclusive, so just chill.
 
AndrewThomas said:
I am going to go with Scarlet going up to 5k MX S35, replacing Epic S and the complete shuttering of the 2/3rds program. Might as well throw out an outlandish guess :p
Click to expand...

I wrote something similar in another thread.

Here are my thoughts:

1. Epic-S scrapped and everything go back to Scarlet (as it was in the original plan)
2. 2/3" 3K flushed, going to 4/5K S35 MX directly
3. Jarred already said that for the fixed Scarlet, the delay has something to do with the lens. My guess is it's a redesign of the lens to go from 2/3 to S35
4. If 2/3" is gone than mini primes are too

Advantages for Red: less sensor to develop, more common electronics between products, same assembly lines, less lens to develop (mini primes).

Or... I may be completely wrong like all of the other pronostics. Time will tell (sooner the better!)
 
@ Sanjin,

Remember these wise words.


THE MAP IS NOT THE TERRITORY



David
 
Jake Bastian said:
Of course in keeping with Sanjin's OCD style that would also need to be accompanied by an equally long list of links/quotes/references along with a nod to the make and model of the keyboard and computer your are posting with and any lenses or cameras that may be sitting near you at the time of posting.

Serious. Exact.

LINK>>>

;)
Click to expand...

I can see that people are getting bored slowly.

Even I'm becoming a sort of target again.
 
Yannick Sadler said:
I wrote something similar in another thread.

Here are my thoughts:

1. Epic-S scrapped and everything go back to Scarlet (as it was in the original plan)
2. 2/3" 3K flushed, going to 4/5K S35 MX directly
3. Jarred already said that for the fixed Scarlet, the delay has something to do with the lens. My guess is it's a redesign of the lens to go from 2/3 to S35
4. If 2/3" is gone than mini primes are too

Advantages for Red: less sensor to develop, more common electronics between products, same assembly lines, less lens to develop (mini primes).

Or... I may be completely wrong like all of the other pronostics. Time will tell (sooner the better!)
Click to expand...

I think Scarlet fixed will stay with the original 2/3" format. Who knows what will happen with the interchangeable version. I like the idea of a true super 16mm sized sensor QHD resolution interchangeable Scarlet built on the same sensor fab as the fixed. Not a big jump. The small format is both popular and useful for many types of production and needs higher pixel density to meet the optimum resolution requirements.

Seems redundant to point out that major Oscars for best film and cinematography as well as many nominations have gone to films shot on the 16mm/2/3" sized format in recent years. 35mm isn't the only way to shoot a movie.
 
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