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:…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.

Red One, Epic and Scarlet resolution and frame sizes

The latest Epic camera from Red is unbelievably versatile. It can shot stop frame work all the way to 300 frames per second. This allows you to do shots that just weren’t possible on almost any other camera ever made.

This chart shows currently support resolutions for Red cameras – Red One, Epic and Scarlet, as well as the maximum frame rate and compression for the resolutions.  Its amazing being able to shoot 300 frames per second on my Epic(at a resolution of 2K – which is higher resolution than most Broadcast TV cameras)

If you want a DP/cameraman and a great Epic Kit

Epic – New Firmware V3.0

The New Firmware for the Red Epic has been released. The latest version is Version 3.0 for the Epic cameras. The major new addition is the new colour and gamma spaces of Red Colour 3 and red Gamma 3. These two give better skin tone rendition than the previous colour and gamma settings.

I am amazed how fast Red releases new updates for the camer and also for the post software like the free Redcine X pro software which has also just been update to version 12 to make use of the new colour and gamma setting too.

Its like getting a new better camera every few weeks !

Red November 3rd announcement

Red is making a big announcement on November 3rd. There are no hints but they say its going to be big. Infact if you believe them it will out do Canon’s November 3rd announcement. We will all just have to wait and see and judge for ourselves.
Some of the news will be that you can order a Red “Scarlet” camera from November 3rd 6pm PST time. The Scarlet was a cut down version of the new Epic camera.

The Power of shooting RAW with Red

Here is a video from a Red camera user Mark Toia.

Mark said “We did a shot yesterday that everyone on set said couldn’t be saved. A super hi contrast shot with a 8 stop difference between ends.
The monitor image looked terrible, the quicktime proxies looked just as bad, But all of my previous testing has proven that the shot was not a concern and no lights were needed to fill the scene to lesson the contrast. I was hoping for a cloudy day.

Worried clients, concerned crew… all non believers all said I was mad, that I should light and flood the whole scene with soft light to lesson the contrast…. blah blah blah..
So it was time to convert them to the real world of RED RAW.
Here is the result.

This is a great example of how grade-able the Red’s R3D files are.