Posts Tagged ‘epic’
With just a month to go before the EPIC sensor upgrades begin, the first real world images from the RED EPIC DRAGON have been released.
Mark Toia, a REDUser member was fortunate enough to get his hands on one of the first EPIC DRAGON cameras, and has released the above video. Mark reports that he’s received no input from Jim and the RED team, and that this test is completely impartial, and more of less straight out of the camera. Words from Mark:
“Jim and Jarred have not pressured me in anyway (surprisingly enough) which was great… if there is a problem or it did not meet my expectations, then I decided I would share good and bad… So I’m glad they left me alone and a credit to them for trusting me…This is as basic a test as you can get, so there are no manipulated images… nothing went to Resolve or any other grading program other than RCX (REDCINE-X) No colour keying, no noise reduction, no nothing… This is as basic as it gets, straight out of the camera then into RCX for a very basic curve which was applied to a RED LOG film setting”...
I know a lot of people who shoot a lot of concert shows without knowing about the danger of laser arrays for their cameras. Lasers are extremely focused beams of light that can result in serious permanent damage for image sensors, they simply can’t handle it (in fact, our eyes also can’t handle it, but cameras are unable to blink unlike we are!)
Check out this video and watch a Red Epic sensor being fried, POV-style. Dr. Evil would rejoice.
(the original video posted here was removed by the user on YouTube. I replaced it with another video of an Epic being fried at another concert.)...
This weekend RED cut down the prices on all their camera bodies. The Scarlet-X’ price has been reduced to $7950 and the Epic now costs almost half. Is this a result of Sony’s massive camera announcement last week?
RED’s Jim Jannard doesn’t seem to call Sony’s announcement the cause for their pricedops. About the F5 and F55 he says: “These two camera announcements are significant. While I do not see them as a threat to EPIC or Scarlet… I do see them as a threat to the conventional and outdated thinking of the industry that tried so hard to cling to “1080P and 2K are good enough”.” and says that they have lowered their “assembly costs, found better suppliers and fully paid off our NRE.” (…) “Since our costs are now significantly lower we are re-pricing our cameras as of now.”
The timing of RED’s price drops is still an interesting one and raises some questions concerning how well RED is armed against the wave of competitive large sensor cameras that are flooding the market right now.
Here are the exact price changes: ...
Get your gear through B&H to support this platform: www.bhphotovideo.com What gear was used to record this video? Take a guess in the comments, we’ll reveal later.
It’s unfortunate that the...
Some time has passed since we’ve started looking for a useful Scarlet-X rig. If you’re serious about working with a camera like the RED Scarlet-X or the Canon C300 you’re in need of a rig that will fully support and make use of the ergonomics of the short...
I might be mistaken but I believe this is the first short shot on a RED Scarlet-X.
We shot this on the same day as the car chase test. It started out as an acted scene test to put the new RED Scarlet-X into real life, shooting intense, on-set conditions, but in the 3 hours we had it turned into a small short film. Hence there are several mistakes in it which we were not able to flat out because daylight was gone.
In the following I will describe how the Scarlet performed under these conditions, what worked, what didn’t work. I’ll call this a field report:...
Part 1/2 Touch it, feel it, a quick look at the exterior of a basic Scarlet-X shooting package.
Part 2/2 Basic operation, basic accessories for 15mma and 19mm support, switching to PL mount and Atomos Samurai disk recorder...
Please watch in HD We went out to shoot this yesterday among other things to test and get a feeling for the Scarlet-X.
In this particular test I wanted to shoot something that’s moving and would need a lot of post processing. The clips were gradually underexposed and there was a lot of shake because we simply shot from a tripod out the back of a truck....
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