Epic details

[roryhinds]

I'm amazed at EPIC, its announcement ready did come as a shock.
The things I'd like to see in EPIC are:

REDONE trade in
I'd like to trade-in multiple REDONE towards 1 EPIC. This will allow me to keep purchasing REDONE's as my needs require with the knowledge that my investment is safe and I have the funds for EPIC when it arrives.

Skew
Skew needs to be minimal. I've heard of a very large hollywood film that wanted to shot RED but opted out because of the skew issue.

Sensor redraw needs to be lighting. I've shot with a stroke light with REDONE and its an issue.

16:9 Support
Not having 16:9 support in REDAlert and QT is killing me

Higher Dynamic Range
I would give up resolution and frame rates for higher dynamic range any day

Much faster if not instant startup times
Waiting for REDONE to startup on set is a killer

PAL/NTSC SD output & 1080p HD output
Most wireless systems are still SD and downconverters are a hassle. 1080p HD for higher preview monitor and the option to record to tape if needed

Full Frame capture
Full frame capture at all resolutions is a must. I'd like to shoot 2k or 3k at Full Frame, none of this cropped sensor stuff, I don't like messing with my optics.

Same high quality throughout resolutions
You get quality hits shooting 3k & 2k on REDONE, I'd like to see constant image quality regardless of what resolution I shoot.

LDS & iLink support
Industry standard lens data support for Arri, Cooke & Red lenses

Programmable buttons
Auto white balance on REDONE is annoying when you forget to turn it off

New menu navigation
Can't work with the "hell"stick on the REDONE. When it falls off on a production it really blows.

Support
I'd like a dedicated EPIC forum with registered users using real names, avoid all the noise and kept it to the facts... its hard to hunt though 100's of threads to find information.

LCD - Noise and Angle
I'd like to see the large RED LCD have better viewing angles and less banding. I love the RED LCD but the angle of view is very poor.

I'd also like a silent LCD. Having the LCD buzzing away loudly on set is not good at all.

REDCINE
REDcine is buggy. The current "Failed to lock image buffer" has brought me to my knees and not knowing when a fix is coming is hard to take.
Full 16:9 QT Support and being able to grade a reel and then make QT's for all the clips would be very useful.
Basic file navigation needs fixing as REDCine current doesn't remember the last directory you where in and will always revert to 2k as the project setting.
Saving REDCine projects are annoying and it's crazy that you can't relink media to a project.
We need to be able to select multiple clips and apply a grade to save time.

Frame counter for each clip. At the moment the frame counter counts from the first clip to the last clip which is not very useful when matching back. Please could we have it count from zero from each clip making it easy to match back.

------------------

What would you like to see in EPIC?

[Paris Remillard]

What would you like to see in EPIC?

Global shutter, more dynamic range, full aperture height sensor.

I'd honestly like a camera(EPIC or not) with a vistavision/full frame stills (36x24mm) sized sensor. Use stills 35mm lenses (or make the Red lenses with a larger image circle) for full coverage, or cine 35mm spherical or 2:1 anamorphics on cropped areas. If it's a 5K sensor, the cine 35mm crops would be 3.33K. If it were a 6K sensor, you'd still get full aperture cine 35mm 4K on the CROP. No more complaints about cropped sensor DOF and FOV and requests for scaled 2K. Lots of options. Or, imagine having an anamorphized(is that even a word) lens on a 36x24mm frame. Now you're into 65mm territory. It would be like having a 65mm, vistavision, full aperture 35mm, super35 , and high-end still camera all in one 6 pound camera. Take full advantage of the flexibility of digital. THAT would be EPIC. Not that 5K super35 isn't epic, don't get me wrong... But...That's my pipe dream vote, since we're just making up amazing features here...Thanks.

[Priyesh P.]

I`d like to have everything parisrem requests for free. right now. not only i want vistavision, but imax and imax 3d, too. because there are so many people shooting movies on outfashioned, low-res 35mm.



jim, the inmates ARE taking control...

[Paris Remillard]

I`d like to have everything parisrem requests for free. right now. not only i want vistavision, but imax and imax 3d, too. because there are so many people shooting movies on outfashioned, low-res 35mm.



jim, the inmates ARE taking control...

Hey, man, just giving my opinion and answering the question that Rory posed in his post. No big deal. Perhaps the pointed irony I read in your post was added in the translation, and I'm misunderstanding something, because I don't really understand how my post could get you so worked up. But, that's cool, you're free to respond as you see fit.

This camera doesn't exist yet, however there is a sub-forum dedicated to it. What else could possibly be discussed here but feature requests and speculation. If you have another suggestion feel free to offer it.

[Priyesh P.]

please, parisrem. it is really getting tiring. jim jannard is a business man and has to evaluate what the broadest range of customers will need and (in the first place) pay for. let´s face it: 99 % of the filmmakers and their production needs don´t require vistavision/imax/imax3d. heck, several imax-movies should have been made on minidv, just like heaps of 35mm and even 16mm ones. so why do people ask for vistavision??? i had a lenghty discussion with a red one owner yesterday. we touched the epic and he asked: WHY? he said he could buy two reds and a scarlet for the price of one epic... but one red one is already much more than needed to make a good movie - technically! the more important part is story and the artistic side. but that was told so many times it gets boring.

[roryhinds]

can the mods delete this thread.
Seems we can't have a discussion these days.

[Paris Remillard]

please, parisrem. it is really getting tiring. jim jannard is a business man and has to evaluate what the broadest range of customers will need and (in the first place) pay for. let´s face it: 99 % of the filmmakers and their production needs don´t require vistavision/imax/imax3d. heck, several imax-movies should have been made on minidv, just like heaps of 35mm and even 16mm ones. so why do people ask for vistavision??? i had a lenghty discussion with a red one owner yesterday. we touched the epic and he asked: WHY? he said he could buy two reds and a scarlet for the price of one epic... but one red one is already much more than needed to make a good movie - technically! the more important part is story and the artistic side. but that was told so many times it gets boring.

I simply stated that I would personally like a camera with a sensor this size and outlined a few reasons why. I'm not going to argue with you about it. You certainly don't have to agree with me. I guess I just don't understand the tone with which you're responding to my desire.

Just for reference, a Vistavision sensor size (I never mentioned IMAX which is much larger) would still be less physical area horizontally (36mm) than the relative width of cinemascope after unsqueeze (43(ish)mm). So the desire isn't any more outlandish than the desire for anamorphic, in terms of format size. Which was heard by Red and anamorphic modes have been added to the format options. The larger sensor size would just allow close to the same horizontal FOV of 'scope, with spherical lenses. It really does make sense to me, and would allow options which I think would be cool. Red thinks outside the box, and so am I. I don't see the harm in exploring options and figuring out what might be possible. Again, you don't have to think so. I wasn't trying to upset you so much by suggesting it. Take care.