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Get 2nd RED EVF/LCD Port with New +1 Monitor Adapter, & REDucation X Course Open for Enrollment

02.27.13 @ 10:36PM Tags : , , ,

RED’s EPIC and SCARLET cameras are modular by their nature, but if you wanted to power a RED Touch LCD and a RED EVF at the same time, your options were limited. The only solution up until now has been to use the Pro I/O Module (or the very expensive Meizler Module), which adds a number of features that you may not necessarily need. Now, RED has finally introduced the +1 Monitor Adapter, which adds an additional RED EVF/LCD port, as well as an auxiliary 4-pin Lemo power port, which can be adapted to 2-pins with a new RED adapter cable. The company has also opened enrollment for their 16-week REDucation X course, which begins in March. We have some information about the class below, as well as a video introducing the +1.

Here is the new module, which is currently retailing for $1,250, with the 4-pin to 2-pin adapter cable attached (which is sold separately and will run you $125):

Here is the +1 on the RED EPIC:

Some info about the +1:

The +1 MONITOR ADAPTOR mounts onto the back of a DSMC brain and features an EVF/LCD port for adding an additional RED display. Also included is an AUX power port for 4-pin 3rd party accessories (2-pin accessories are compatible when using the 4-PIN TO 2-PIN ADAPTOR CABLE). Similar to the MODULE ADAPTOR, you will be able to add and secure DSMC modules onto the rear of the +1 MONITOR ADAPTOR, to continue building your configuration.


Obviously there are a few key differences between the Pro I/O Module and this +1 Module (besides cost). For starters, it’s much smaller, which means you can probably leave it on the camera most of the time without noticing it or worrying about bumping it. You also might be noticing the HDMI cable sticking out of the adapter. While RED has been working on this module for quite some time now, I’m willing to bet part of the reason for the holdup was trying to make the module small enough but also generate its own monitor path. With this +1 Module, the HDMI output from the camera is converted into a proper RED EVF/LCD port. This means that you will lose the use of that HDMI port as long as you want to use the +1 Module, but the HD-SDI will continue to function as normal. So basically an EPIC or SCARLET in this configuration isn’t really gaining any ports, just converting one to the RED EVF/LCD port.

If you haven’t heard of it before, RED has a course open to anyone (but space limited) designed to teach you the ins and outs of working with RAW digital cinema cameras, specifically focusing on RED hardware. Here are some details on REDucation X:

With the advent and forward trends of digital technology within the film industry, the immersive REDucation X experience teaches filmmakers-to-be the processes and techniques associated with digital filmmaking through practical application. This program bridges the gap between a traditional, multi-year film school, and a short-term intensive training class. Whereas the norms of film school would teach in course hours and grades, our program provides an all-inclusive look at the real-world business of filmmaking—all located atRED Studios, in the heart of Hollywood, CA.

Each student will produce their own short film by way of equipment that is usually limited only to professionals. However, the mission of this process extends far beyond technology itself. The foremost purpose of our program is to guide independent filmmakers through the intricacies of technology in order to aid solid narrative filmmaking; we hope to encourage and assist the aspirations behind great stories…

The class focuses on far more than just technology, and goes into everything that a normal film production would encounter — from pre-production and story development all the way through post-production. That’s why the 16-week class, which is taking place from March 25th to July 12th, costs $15,000, and is limited to a class size of 15 students. If you’ve got the money, you’ll be working with literally everything that RED makes for a lengthy period of time.

You can learn more about the class as well as the new products from RED using the links below.

Links:

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  3. The 12-Inch 720p External Monitor for DSLRs That Costs Under $100

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  • $125 for an adapter cable? $1250 for that little module?

    F*ck.

    • Unfortunately that’s pretty much what this stuff costs in the professional world. Lemo cables are expensive, but the +1 module won’t be necessary for everyone, especially if they only have 1 RED brand monitor or EVF.

  • pretty dang expensive…

  • Yep. Pretty expensive for a feature that should have come with the body. I’ve had Epic-X since it’s release and have waited far too long for a reasonable EVF solution. I’ll put my money into a third-party HDMI EVF that I can use elsewhere on another day.

    M

    • I have the OLED EVF, and have been wanting this module for half a year. That said, you’re right, this feels like patching a missing feature rather than adding something new. If it was 700, no brainer. But it’s a tough pill to swallow since I love having the EVF on a bright day.

  • RED is the Apple of cameras

  • It’ll be interesting to see how RED changes with the release of the Digital Bolex, the BMCC and the inevitable 4K Dslr cameras. Additions that are more reasonably priced and focused like this module, instead of the $13K Meizler will start rolling out with more frequency. I expect the next Scarlet or Epic will simply roll these modules into the new bodies.

    • The Digital Bolex and BMCC represent the lower end of the spectrum and really aren’t competing against the EPIC or even the Alexa. The BMCC is a fantastic little camera, but lacks many of the features that would find it at home on a regular set. However it’s a great alternative to a DSLR, and certainly is on the higher end of that spectrum. If given the choice I think it’s more a direct threat to the 5D Mk3/7Ds than anything else.

      • I absolutely think the DBolex and BMCC are a direct threat to RED. They’re built for video recording and not photography. I own the GH2 and the AF100; the next logical step was the Red Scarlet until Red decided not to “future-proof” the Scarlet. Now that the BMCC and D-Bolex are is coming out and both record 4K Raw, I’m considering them strongly instead of an EPIC. (I actually wonder how much the Epic 4K will be since the sensors will drop in price).

        The BMCC and D-Bolex are also not really competing against the 5D as you claim. The 5D requires a lot more accessories to make it production worthy, isn’t Raw, doesn’t record in a post-production format, and doesn’t even output clean video. The Panasonic GH3 with it’s timecode, high-bitrate AVC-Intra, and clean HDMI is more competition to the 5D. What’s great is that Panasonic listened to users who hacked the GH2 and provided an upgrade.

  • inevitable 4K Dslr cameras

    Which will cost what, $15K? Hello, Canon.

    • The Canon is pretty whizzy (and $12K, not $15, at least from B&H). It’s a great rental item if you want to shoot some b-roll of the White House for your short film without getting smacked down by security.

      Curious about a future S35 BMC, and the inevitable higher-end but still wicked cheap GoPro 4K with a bigger sensor.

  • I’m wondering what would happen if you plugged that HDMI cable into a different camera. Obviously you’d have to power the module some how. But I’ve always wanted to use the old EVF for the R1 on other cameras.

  • What would be better… spending 15,000 on a class or on a camera kit

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