» Posts Tagged ‘epic’
It has been relatively quiet on the RED front regarding their fire-breathing beast known simply as DRAGON. We saw the first actual images from the camera back in February, and there was mention a few weeks ago that some internal power supplies needed to be redesigned as they were getting additional noise in the shadows. While development seems to be edging towards completion, Jarred has finally posted our first glimpse of the monster in the wild: More »
Seriously. It’s not often I’m brought to near-tears by any kind of aerial footage, 4K RED EPIC-shot or not (featuring striking landscapes of the San Francisco Bay area, or otherwise). I’m sure the swelling musical score didn’t help. We’ve featured a number of visually stimulating aerial footage videos before, some of urban areas fitfully asleep, others less ominous and more serene, and some for free from Neumann Films. Heck, one such clip followed battling ninjas. Each and every one is memorable in its own right. But thanks to Teton Gravity Research’s use of the GSS C520 5-axis gyroscopic stabilization system, Vimeo Staff pics is now featuring possibly the smoothest, most amazingly stable aerial footage you’ve ever seen — and perhaps even the most beautiful, too. Watch below. More »
Want a Free RED EPIC & Zeiss Lenses? Enter HDVideoPro's 7th Annual Still and Motion Competition
Who wants to get their hands on the RED EPIC-X Pro Collection? Well, if you’re like me and your couch-change is a little shy of $48,260, then you may want to consider submitting your short films and/or stills to HDVideoPro’s 7th Annual Emerging Pro Still & Motion Competition. Presented by RED, Zeiss, and Adobe, HDVideoPro and Digital Photo Pro are teaming up this year to award the photographers and filmmakers who submit their best work. Here’s an example of what you can find in the competition’s motion gallery: More »
I’m as captivated by striking portrayals of urban nightscapes as anyone, ranging back to the existing-light-only Nocturne, to the aerial ghost-eye-views of FIREFLY. There’s just something breathtaking about seeing the biggest centers of life and activity during the desolate, slumbering hours. Filmmaker Colby Moore has added another quieting noct-urban document to the list. City In The World lays some high dynamic range RED EPIC sights on the city that never quite gets to sleep. Check out some of New York City’s dark side below, plus some details from Colby about his non-HDRx workflow. More »
Homebrew Render Farming at Crunch Time with Imminent 'The Underwater Realm,' Plus New Trailer
You may recall when director David M. Reynolds shared a guest post with NoFilmSchool readers, in the midst of what would become a significantly successful Kickstarter campaign — overfunded $40k beyond its $60k goal — for his project The Underwater Realm. Now, a year later, the film is less than two weeks from premiering for free on YouTube. Needless to say, the all-volunteer-multi-talented-hyphenates of Realm Pictures is working tirelessly to get the project finished. On top of this, they’ve shared a seemingly endless amount of insight into their process along the way, via weekly video blogs — including a recent look at their self-implemented render farm-style workflow, the sound design, and a bit earlier, a look at their amazing underwater shooting process. Watch these and a new trailer below. More »
One of the great advantages to shooting RAW is that nothing is permanent. If you’ve shot with a RED One, RED Scarlet, or RED Epic, you’ve experienced the liberating feeling of knowing that the changes you can make in the color grade are virtually limitless. If you’ve got a specific look that you’ll be applying in post with Scarlet or Epic, it can be tough to know how you should be lighting without seeing that look in the camera monitor. It can be especially helpful for other crew members who might have a hard time visualizing and seeing what the final product will be. Well, here’s a simple tutorial from RED on creating those looks and then displaying them in-camera: More »
We’ve posted about cameras attached to RC helicopters before, but unlike that fraudulent Kickstarter campaign, there are legitimate companies pursuing the marriage of camera and RC helicopter. So, here’s the lowdown — folks in Germany and Finland have attached RED Epic cameras to remote controlled octocopters in a devious attempt to blow our minds. I’ve embedded two videos below. One shows the RED Epic being epically flown whilst attached to an octocopter. The second has ninjas. To be honest, the only thing that would have made this more internetishly savory would been if the ninjas revealed they were actually cats. All goofing aside, the stability and smoothness of the footage is pretty remarkable: More »
A camera is really only as good as what you put in front of it. So while I was disappointed in some of the first RED EPIC footage to hit the web, I did suggest that it wasn’t the camera’s fault: drab brown interiors or ski slopes on an overcast day don’t fully demonstrate what a camera is capable of. A nice sunset over water with birds flying in slow motion, on the other hand, makes for a good showcase. Here’s the video embedded (make sure you’re watching it in HD, and keep in mind you can click on the vimeo title to download it in 1080p: More »
I’m working on an in-depth post comparing the Sony F3 with RED’s forthcoming EPIC-S. While the F3 is shipping in limited quantities and the EPIC-S has only been announced, it’s possible to compare the two because the EPIC-S shares its sensor with the just-shipping (and significantly more expensive) EPIC-M. In putting together the post, there’s one section that I’m not sure of: the pixel pitch of each camera’s sensor. Anyone out there want to help me with my math? More »
RED’s long-awaited follow-up to their RED ONE, the 14-megapixel-per-frame, 120 frames-per-second-shooting RED EPIC supercam, is now shipping to those lucky enough to have a low reservation number (and the cash to cover it). This is the same camera that will be used to shoot Steven Soderbergh’s Contagion, the new Spiderman reboot (so soon?), David Fincher’s American version of The Girl with the Dragon Tattoo, Underworld 4, Peter Jackson’s The Hobbit, and many more Hollywood superblockbusterfests. Yet the release of EPIC also concerns those of us with less storied resumes and smaller budgets, because the same underlying technology will soon be available for us as well. More »
Sony’s new 35mm camcorder, the PMW-F3, is listing for a less-than expected $13,000 at B&H. Not coincidentally, this is the same price as RED’s recently re-named Super35mm EPIC-S camera (formerly known as SCARLET). Sony and RED are thus going head-to-head at the $12k price point; however, Sony is looking to release a prosumer version of the PMW-F3, the as-yet unnamed NXCAM (some are unofficially dubbing it the HXR-NX35), for half the price. Not coincidentally, RED’s 2/3″ fixed-lens SCARLET is also targeting this same price point, which means Sony and RED are releasing competing cameras at both the $6k and $12k price points. Here’s a look at the fixed-lens 28-200mm RED SCARLET, which was demonstrated publicly for the first time at CES: More »
Since announcing the SCARLET and EPIC camera lines over two years ago, RED has pushed the ship dates back and changed a number of features. While the list of films shot on RED has been growing ever longer, indies have been waiting (patiently or not) for the lower-end SCARLET entry. I’d previously noted that RED was abandoning the prosumer market because of HDSLRs, but seemingly in order to ship even better high-end rigs. Now comes word from head honcho Jim Jannard that the Super 35mm-sized SCARLET has been renamed the EPIC-S and re-priced accordingly.
UPDATE as of October 2011: it appears RED has re-re-named the EPIC-S back to the SCARLET and will be announcing it officially (and shipping it) November 3rd. Stay tuned.
The old details: More »
In 2006, RED announced the RED ONE, their first camera. In 2008, RED announced that the successors to that first camera would fall into two categories: EPIC and SCARLET. EPIC, as the name would suggest, was the big-boy camera for large Hollywood productions, and it was going to carry a matching price tag. SCARLET was for indies and prosumers. They originally targeted the $2,500 price point with the cheapest version of SCARLET, a 2/3″ chip camera with a fixed lens. But then the HDSLR revolution happened. Canon added 24p to their 5d Mark II and, despite the lack of pro audio options and infamous problems like aliasing and compression issues, the idea of SCARLET lost a lot of its sheen. As a result, RED is not abandoning SCARLET wholly, but they are moving it up-market and repositioning it as a “pro” tool — effectively abandoning the prosumer and DSLR market. More »
It’s easy to forget with the constant barrage of DSLR news and videos that the originators of the “large CMOS chips can replace film!” movement are still hard at work behind closed doors. Yes, I’m talking about RED, whose first camera, RED ONE, has shot thousands of features and is set for an upgrade soon with the release of its successor, EPIC. Digital imaging titan Adam Wilt stopped by the RED studios last week, and he has since posted a pair of articles that give a terrific look behind-the-scenes at what’s going on in REDland. While I’m currently shooting with a 5D, lord willin’ and the creek don’t rise, I’ll be shooting on RED sooner or later. Here’s why: More »
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