Atomos Samurai now uses Red Epic file names

epic file names

The latest firmware for the Samurai recorder now allows uses to select a new file naming option. The Samurai’s new option is to be able to use the Red Epic/Scarlet file names, making the Samurai an instant ProRes or DNxHD backup copy of your footage as well as allowing you to use the Samurai’s files for offline edit. Because of the matching file names now it will make re-conforming to the R3D files a breeze.

This update makes my Epic a more versatile camera, meaning what ever post production you have planned for your shoot myself and the Red Epic now provide answer.

Well done Atomos ! Thank you.

Epic & Scarlet cameras shoot reality TV

Today’s the final gear prep day before we start shooting a reality TV series. I can’t name the show yet, but I am really looking forward to shooting it on my Epic camera. We have mainly Epics, but have one Scarlet camera in the mix.
Keeping on top of the data backup is going to be one challenge, but I am told that’s in good hands with plenty of on set computing power at hand.
There has been a great crew brought together for this show, so will be great fun to shoot!

Cinematography tools online by Red

Epic and scarlet tools

Red has just added some tools for Cinematographers and Photographers that use Epic or Scarlet cameras to their web site. The new tools are 1. Crop Factor 2. Recording Time 3. Flicker Free Speeds 4. Depth of Field.

You can find the tools at http://www.red.com/tools/crop-factor

At the moment they are online but its rumoured that there may be an app version in the pipeline. I see the record time tool as the best as no other app seems to be able to do what this tool does.

Thanks you Red!

Epic online tool

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Red Epic Pro I/O arrives

Epic Pro I/O ModuleThe latest module for the Red Epic has just arrived. Its the Pro I/O or professional Input output module. This module allows for many advanced configurations and attaches to the rear of the Epic to provide a central hub for essential I/O connections. Professional I/O support for audio and video is critical for large productions and the PRO I/O MODULE bundles them conveniently into one module.

Connections Include:

1x Genlock / PGM / Preview (BNC)
1x AES
2x 3-Pin XLR Input
1x 5-Pin XLR Output
1x Timecode (5-Pin Lemo)
1x GPIO (4-Pin Lemo)
1x Power (4-Pin Lemo)
1x AUX (10-Pin Lemo)
1x LCD/EVF Output (RED Display)

 

This module makes our Epic truly versatile and now is all you need to shoot anything from Web video through to a feature film.

Red formats & dimensions

This chart shows the resolutions of the various RED formats and their corresponding dimensions in millimeters. Created by Danai Chutinaton. Thank you for the great information.
High Resolution Download: http://www.bluepano.com/hostedfiles/…ons-Key-LG.jpg

New Epic Firmware

Red EpicA new version of the firmware has just been released for the Epic – version 3.2.16. As always Red is ironing out bugs and improving with each release. They also add new features on most firmware updates.

The one major fix in my opinion with this build is that now the Epic outputs the correct size frame via HD SDI. This means that external recorders can now be used to enable direct to edit shooting with a recorder like the Samurai or the Pix 240.

The major new feature of this build is the addition of 5K HD, 3K HD, 2K HD, 1K HD formats. These new formats mean that you can easily shoot any resolution with Epic in a 16:9 aspect ratio making post simple.

The rest of the updates are :

Added 1K WS format (Epic 400fps, Scarlet 120fps)

Added Target REDCode feature

Added Post Record Fan Delay (max 1 minute)

Added 1-camera to multiple REDMote support

Added Slate Information Dialog

Added User RGB curves capability

Added RMD file import/save/apply

Added Gyro support

Added Side Handle Key Lock Feature

Added Audio Gain/Limiter Controls

Added Phantom Power Support(Hardware Rev Dependent)

Added External record mode

Added Force Restore Feature using Power Button

Added HD-SDI Format controls

Added 9″ LCD Touchscreen support

Added Dual Battery Module support

Added Rear SSD Module support

Added OLED EVF Brightness support

Added Playback Frame, Title and Action Guide status

Added PL Lens short circuit detection

Added HDMI 1080p/720p refresh rates of 24,25,30,50,60

Enhanced Keys assignment dialog

Enhanced Preset dialog

Enhanced Playback load notifications and error handling

Enhanced UI usability

Enhanced AF capability

Camera Name defaults to camera type (i.e., SCARLET/EPIC)

Fix for Playback using EVF

Fix for Playback support of 5K and 5K ANA

Fix for Zoom Rocker +/- Mapping

Fix for HD-SDI output scaling

Fix for LCD image ‘stutter’ when panning

Fix for camera freeze when changing AF/MF with Focus dialog open

Fix for Zebras disappearing after disconnect/reconnect of RED monitor

Fix for scaling of 5K clips during Playback

Fix for HD-SDI test pattern output levels

Fix for record error 0×00001E seen on some cameras

Fix for multi-clip load issue in Playback

Fix for audio in HDRx mode

Fix for frame drift with Sensor Sync = Genlock on some cameras

Fix for camera not completing clip recording to end of media

Fix for camera hang mapping actions to rocker switch

Fix for LCD w/half white screen on start-up

Fix for RED EVF connection problems

Field of View Comparator – Epic, Arri, Canon, F65

Ever wanted to know what the field of view of different cameras are and be able to compare them … well now you can.

Able Cine has made this great tool and they have recently added all the new cameras from NAB 2012. The new cameras include the Canon C300, C500, and 1DC. The C300 and C500′s sensor is almost exactly the same size as Super 35mm film; at 24.6×13.8mm it has a 28.2mm diagonal. The 1DC can record in both HD modes and in a 4K mode. The HD mode uses the full frame sensor area just like the 5D Mark III, however the 4K mode uses a smaller APS-H mode, like the 1D Mark 4. All these options are now available in our tool.

Additionally, they’ve added the Blackmagic Digital Cinema camera to the list, which has a sensor size somewhere between Super 16mm film and a 4/3rd sensor like on the AF100. At 15.8×8.9mm it has a 18.14 mm diagonal, which leads to a fair bit of cropping when compared to Super 35mm and full frame sensors. The Blackmagic Camera can record in both HD (ProRes, DNxHD, and uncompressed) as well a full 2.5K 12-bit Raw format. The Raw data is captured in Cinema DNG format at a resolution of 2432×1366, however the captured image area is the same, so you should get the same field of view in either mode.