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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 STAYED TRUE to their mission statement.

Regardless of practicality in most cases, people do occasionally drag 1080p displays onto sets. I mean, when you're talking about a movie set, even a large 1080p monitor isn't likely to be the heaviest or most power-hungry item in the vicinity anyway.

Plus, there seem to be a lot of low-budget indies who are already talking about dragging around 17" and 20" computer displays, which aren't exactly built for the field and which don't run directly off of batteries. If you're already dragging around a 20" monitor that isn't designed for field use, dragging around a 24" monitor that isn't designed for field use isn't that much harder. :biggrin:

Would live 1080p monitoring be game-changing? Not really. But it would be nice.
 
Just when my Mac Pro became powerful enough to deal with HDV and ProRes with reasonable efficiency and I'm still trying to work out how I'm going to deal with 2k files (I hate the stopwatch), now I have to look forward to "waiting on my computer" for another five years?

Honestly, my hope is that the EPIC "Mysterium X" sensor gives me stills I can use in magazine ads and billboards if necessary. I really don't even want to think about editing, compositing, motion tracking or color grading 5K footage for another 10 years. 18 years ago, I used to dream about the day I wouldn't have to wait for Photoshop to do something, I figured 1996 tops.

-shooter
 
Red one obsolete? Cmon guys be serious....I was waiting for NAB to make my final decision on buying the red one or not...Now I am completely sure the red one is the way to go...and if I want to upgrade two years from now...epic is the name of the game...if not stick to redone and add a scarlet or two to the equasion...jim definitely knows his game and he's playing it straight, fair and smart...
 
Smaller, lighter, faster (100fps at 5k), higher data rates, etc. were all based on customer feedback that could not physically happen in RED ONE without replacing every single component including the body.
 
cckid said:
Red one obsolete? Cmon guys be serious....I was waiting for NAB to make my final decision on buying the red one or not...Now I am completely sure the red one is the way to go...and if I want to upgrade two years from now...epic is the name of the game...if not stick to redone and add a scarlet or two to the equasion...jim definitely knows his game and he's playing it straight, fair and smart...
Click to expand...

ccKid, I don't know if you read this but you can trade in your Red one and get the full $17500 when you upgrade to Epic.
 
So long as you can get a credit for Epic then Red One will always be the camera of choice. After all if you shoot Red One today you can say it is film and no one can tell. Red Wins! Congrats Red on proving that you are the future, and proving me right, like I said Jim will not stop till Red is the cinema camera of choice...not just digitial but the overal cinema camera of choice. After all its about Red being the best not just a camera but the company overall, Red either is or will be by mid 2010. Congrats Jim and Red team you have made history and will contiune to do so! Best wishes!
 
Deanan said:
Smaller, lighter, faster (100fps at 5k), higher data rates, etc. were all based on customer feedback that could not physically happen in RED ONE without replacing every single component including the body.
Click to expand...
That's Epic stats now. Taking into account Jim and Red's track record, by the time the real Epic is built and rolling off production lines and into our hands, Epic will be stronger, faster, [cue Bionic Man music...]...
 
Epic looks like one front-heavy camera (especially with a Master Prime or a zoom on the front)...good luck with the handheld! :weight_lift:

I'd be interested to see a side-by-side of Red One & Epic footage on a big screen - I'm totally guessing that the extra resolution doesn't slap you in the face (not like the difference between 2K and 4K?). Would the difference be even less noticeable on a small screen (i.e. for broadcast?). And how noticeable is the 100MB/sec going to be (I still can't see much difference between Redcode 28 & 36)? Will Epic have a wider exposure latitude than the Red One? Will it be rated the same (I'm guessing the sensor pixels will be smaller than the Red One so less sensitive to light?) The 100fps at full resolution's a big selling point though (but will Epic be able to do even higher frame rates at lower resolutions like the Red One can?) Questions questions...
 
Hmmm...might also be interesting to also compare Scarlet at 3K with Mysterium X at 100MB/sec with Red One set at 3K with ol' fashioned RedCode 36...
 
I'm totaly stoked about the new RED products.
I love the RED One already but the epic is the killer cam, no doubt.
The epic has everything that I'm dreaming of. It's like the RED One exactly the way it should be. No offense. The trade in possibility is I totaly great.
I will do that. RED is getting in full gear now. I'm very proud of Jim and the team.
Guys, you just did it.
I salute you.

Tim
 
Deanan said:
Smaller, lighter, faster (100fps at 5k), higher data rates, etc. were all based on customer feedback that could not physically happen in RED ONE without replacing every single component including the body.
Click to expand...

Yeah but thats why the modularity thing was supposed to so cool and why most bought into REd One. So whats being said here? The Red one is bigger, heavier, and slower with lower data rates not based on customer feedback?
 
fightordie said:
Yeah but thats why the modularity thing was supposed to so cool and why most bought into REd One. So whats being said here? The Red one is bigger, heavier, and slower with lower data rates not based on customer feedback?
Click to expand...

The RED One exists. It's been built and it has certain limitations. There is and will be upgradeability to a certain point, but beyond that it's not going to be worth it. Like Deanan said, to get all those things it'd be necessary to replace everything.

So the solution is a new camera. All new specs, all new hardware. Built on feedback from users of the RED One so far, and presumably from experience gained by RED in building their RED One to this point. Jim has said a new sensor block will be made available for RED One when EPIC is completed, but the rest of the specifications are going to be limited by the rest of the gear inside the RED One, and upgrading all that is just silly.

So, upgrade your RED One, if you want, or wait to EPIC is release and trade up. Can you trade your HVX200 for a $6000 credit on an HPX2000? Nope.
 
KLang said:
By the way I am still waiting for a kickass workflow.......
Click to expand...

What's being Epically overshadowed here (ah, couldn't help the pun) is the announcement that the Red One post workflow will be fully integrated with Final Cut Studio, from Final Cut to Color.

I only caught half of the demo in the booth, so hopefully someone can expand on this (or correct me if I'm mistaken on a point), but I believe R3D files will be able to be dropped right into Apple Color.

Workflow: Proxies straight into Final Cut, After the edit the R3D files are then conformed to the EDL (a little hazy on what program does this), The conformed R3D's are finished in Apple Color.
 
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