Tonaci Tran recently filmed a wedding on two RED EPICs. One of the main benefits to shooting at 5K is every single frame is a 14 megapixel still image. Overkill for a wedding? Sure. But part of RED's entire strategy is for motion and still photographers to use one tool for both activities -- you know, like an HDSLR. The difference between an HDSLR and a RED camera, however -- other than the price -- is there aren't separate high resolution still/low resolution video modes. They're one and the same, with the ultra high resolution of the RED EPIC allowing for full-resolution stills to be pulled. Here's what the wedding footage looks like, in motion:
Video is no longer available: vimeo.com/25941536
Shot run-and-gun with the camera operators pulling their own focus, using Zeiss Mark I Super Speed Primes, a Tokina 11-16mm and an Angenieux Optimo 16-42. Here's Tonaci's impression of pulling stills from the footage:
Thanks to RED, the line between still photography and videography has been OBLITERATED. The wedding trailer you see above was shot entirely (99%) at 5K, from 24fps all the way up 120fps. There was only one shot during the entire wedding where we went "down" to 2k, to shoot 300fps of the water fountain. The fact that any frame in this entire video can be pulled as a 14 megapixel (5120x2160) hi res still, that you can print a billboard size photo out of, is MIND BLOWING.
For a full-resolution 5K frame grab, here's one (and another). You can also grab full .R3D files on REDUSER. Is a 14-megapixel frame grab as good as a 20-megapixel still shot specifically for printing? Maybe not. But it's damn close, and considering the print-resolution, full-size magazine covers that have been shot on RED so far, I'd say RED's "DSMC" concept is already a success. Which begs the question: how about some news on that lower-cost EPIC-S, guys?