new Epic render...

[Jannard]

... coming soon.

Jim

[Pawel Achtel]

You got my attention :w00t:

[Andrew Benz]

... coming soon.

Jim

Feels like old times, I can't wait.:wink:

[Shawn Booth]

wifi....

[Tim Lüdin]

Damn Jim do you ever sleep?
You had me at new Epic.
My heart pounded faster, that's for sure.

Good way to start the day.

Tim

[Harrison Diamond]

No fighting this time, I hope!

[Matthew Lochman]

:whistling: "anticipayation, it's makin' me wait...":whistling:

[jaadgy akanni]

:whistling: "anticipayation, it's makin' me wait...":whistling:

We can never know about the days to come
But we think about them anyway, yay...lol

[Sam Winzar]

Based on this new render I think Red are catering far too heavily to the trailer production crowd. They've simply removed everything that made this camera useful to the other filmmaking disciplines.

[Paul Hazlett]

aaaahhh no fair.....I think Jim just likes seeing how many people jump...is it up yet.....how bout now.....dooooh!!!! heheheh all in good fun!!

[Tom Lowe]

Yeah seriously, no stupid bickering on this thread plz!

Looking forward to it, Jim.

[Matthew Lochman]

:whistling: "It's Keepin' me wayayayayayaiting..." :whistling:

[Pietro Impagliazzo]

Jim that's just mean...


Yeah seriously, no stupid bickering on this thread plz!

Looking forward to it, Jim.

Tom, you ok buddy?
You seem very sensitive to bickering lately, hahaha.

I'm just messing with you. :)

[Tom Lowe]

Jim that's just mean...



Tom, you ok buddy?
You seem very sensitive to bickering lately, hahaha.

I'm just messing with you. :)

I have become a man of peace.

http://img134.imageshack.us/img134/4403/smiley7mmcq6.jpg

[Bruce Allen]

Awwwww! The pain of the rick roll...

I think Jim really enjoys this, haha.

And in some crazy way, we do too!

Bruce Allen
www.boacinema.com

[Matthew Lochman]

And just when we've all given up...

[Matthew Lochman]

BAM! Jim drops the new render...

[Jannard]

These renders show Epic with the optional right side breakout box. This way, everyone gets what they need. Power has been moved to the right side rear.

Jim

http://www.reduser.net/forum/uploaded/9_epicbobox1.jpg

[Jannard]

http://www.reduser.net/forum/uploaded/9_epicbobox3.jpg

[Alex.Mitchell]

That's pretty nifty right there.

[Edit] I am pretty curious about this "optional" description though. You that the operator can just detach that whole side panel if they want?

[Pietro Impagliazzo]

I have become a man of peace.

http://img134.imageshack.us/img134/4403/smiley7mmcq6.jpg

That's a cool gun! M14, M21 maybe?! ...
:biggrin:


These renders show Epic with the optional right side breakout box. This way, everyone gets what they need. Power has been moved to the right side rear.

Jim

http://www.reduser.net/forum/uploaded/9_epicbobox1.jpg


http://www.reduser.net/forum/uploaded/9_epicbobox3.jpg

That's a cool camera, I see some ports positioning changes...
Interesting.

[jaadgy akanni]

http://www.reduser.net/forum/uploaded/9_epicbobox3.jpg

Diablos! F#*k me sideways!!! Thanks Jim. That's the coolest looking camera ever!

[Cameron Preyde]

Full sized XLR! Thank god!

[Zakaree Sandberg]

body weight guestimate?

[Rob Lohman]

100 lbs

[Jannard]

"Estimated" weight is 6 pounds for the body and about 1-1.5 pounds for the breakout box.

Jim

[Shawn Bannon]

super awesome. what is the reflection of in the glass?

[Paul Hazlett]

100 lbs

with or without the lense?

[Tom Lowe]

Looking stellar.

But Jim, if this baby is not going to have a liquid cooling system, maybe paint it white instead of black? :)

[Harry Capota]

what about a SD SDI or FBAS output for wireless picture distribution via canatrans/ modulus, steadicam?

[Fredrik Callinggard]

Looks great!!! Epic is something I can't wait for. This time around it's worse because now I know.

[Eirik Tyrihjel]

I want to make a reservation, I want a piece of paper on my wall that says I have an Epic on order!

like I had (and still have) for my RED #476 "MOTHER" (in service since feb 1st...)

[Fredrik Callinggard]

BTW. I will stick my neck out (not knowing much about audio) and say that I still think it should be mini-xlr connections. I know you'll get a lot of brief and headaches for it Jim, but for such a small camera it makes more sense in design. If it has that as an option i would definitely go for it, now I will consider it with a lot of thought.

Sorry! Took a closer look and realized that it most probably is HAHAHA. My apologies.

[Kevin Wild]

Looking pretty cool, but can't help but noticing the CF card hanging out of the back. Is there a reason RED wants it to stick out rather than a slot that swallows the card with an eject button? (I'd be a lot less tempted to accidentally grab it out without ejecting if it was an "insert" type.)

Love the removable side and back. Hope more information is posted on that. More importantly, I hope we get present tools working (Cine, Alert, Rushes, L&T) before we all move on to the new stuff.

[roryhinds]

Looks great Jim.

How does the breakout box work?
Is there a port on either side of the camera?

Any chance of having a V mount on the camera?

[Andrew Hewlett]

Wow...I like this new render. Looks like you guys are doing your best to address the issues people are bringing up here.

[Justin O'Neill]

Wow, you really get a sense from these renders how tiny the Epic is!

Exciting.

[Peter Majtan]

Jim - looks amazing,

I truly hope this time around there will be a port for external recording (either for uncompressed/lossless RAW and/or higher frame rates...

Also - I sure hope Epic will have at least 256 GB SSD built in... :)

[Bob Torrance]

Looks great. What are the standard outputs (w/out breakout box)? Previous render?

Now let's see the other side :shifty:

[Brent J. Craig]

I truly hope this time around there will be a port for external recording (either for uncompressed/lossless RAW and/or higher frame rates...

Maybe that's what the TBD port is for! Tera-Bytes of Data

I'm happy to see the new connector layout. Very workable.

I agree with the comment about the CF card sticking out. Not a great idea. Also, I had hoped there would be (at least) two card slots. Maybe the other one is just empty in this render.

[paul engstrom]

Looking really good. Super nice work. I've greatly appreciated the opportunity you guys have provided to weigh in on features we desire. Thanks!!

As I consider how I'll use the cam, I'm thinking that I'll probably want to put essential and/or extremely common add-ons (ie. batteries and perhaps the hard drive or flash drive) somewhere on the back of the camera.

Is there a way to facilitate these without having to use a top mount bar system (or longer lower bars--as they would wreck the shoulder cut out)?

I'm thinking something more integral to the camera, perhaps a module that attaches onto the back of the camera body (assuming here that the back controls are removable; if I've read previous posts correctly, I think they are--very cool), doing a better job upholding the ergonomic vision evident in this last batch of renders than a top mount bar system would accomplish.

Again--NICE. I love how small the camera to begin with, and how the handhold option and cable routing is coming together.

p

[Michael Ragen]

I definitely enjoy watching this camera evolve, just like the R1. Any chance of seeing the control module on the back mounted on the side of the camera soon?

[Jim Exton]

I love the optional breakout box. Awesome job.

Render of left side coming next week maybe????

[Robert Kurhajetz]

The Renders are scary good ;-0

probably already been asked and answered, but here goes...(if the info can be shared) what is the modeling and rendering environment used?

[Brook Willard]

The breakout box is a tremendous improvement, I dig it. I still fear that the rear connectors [Power, Drive, TC, Aux] on the BOB will be in danger by sticking out of the back of the body, but that's the nature of the shortened body itself.

With the rear control surface removed, I'd love to see some 3/8-16 holes back there to semi-permanently attach something in its stead... a big accessory with a drive slot or two and a battery mount [similar to the drawings Matt Uhry posted in this (http://www.reduser.net/forum/showpost.php?p=270405&postcount=189) post. You guys don't have to make the accessory, but making a bracket back there to mount stuff onto would be awesome.

That would eliminate the need for the top rod system to mount necessary accessories like the drive, battery, etc. Rather than adding several pounds worth of [sometimes over-adjustable] accessories to the top, there could be one fixed accessory on the back that would turn the weight and balance of this camera into that of a film camera. To make this work properly, there should be an interface connection/charge port on the smart side of the camera where many people will chose to semi-permanently mount it.

What's in the riser block between the sliding base plate and the main body of the camera? Are there brains in there or is that a block that could be made removable [by having those brains shifted elsewhere in the body... even if it meant lengthening it by an inch]? Having the optical axis unnecessarily low [to less than 80mm... so that video rods could clear the bottom] would open huge doors for accessorizing and building the most badass handheld rig ever. I'm talking crazy low... lower than any film camera. If that block disappeared and was redistributed elsewhere, it would make an enormous difference [and would solve the only ergonomic point that couldn't be solved with an accessory].

For studio configurations, a riser block would go in between the camera body and the sliding base plate.

Is that red switch I see on the back a lock switch for the controls?

Any chance of a few more accessory ports? Front-facing? With higher amperages available [multiple amps... torquey lens motors love power]? You could put one right under the RS-232 port on the BOB and space those connectors a little more evenly.

You guys should give some serious thought to Matt Uhry's recommendation to turn the audio interface into a breakout snake cable... perhaps into something similar [or identical] to a Neutricon SC8/MC8 interface.

By reducing the sound package on the camera to one low-profile port, we could make accessory decisions based on our requirements. The ENG/EFP crowd could have a BOB with XLRs and pots. The cinema crowd could just have the mixer plug his own custom Neutricon cable into the camera which would carry 2 channels of audio, audio output and timecode input. Those with more requirements could build their own adventure. The best part is that you guys wouldn't even have to build those accessories.

I'd say make a ~8-12-pin LEMO and have two channels of audio input, headphone output, timecode and genlock in the mix. Have hundreds of the male LEMO connectors in stock. While people would be initially resistant to buying and building a new cable, it would be a [i]perfect solution to the audio dilemma. Talk to Coffey and Location Sound... hell, they could have "RED Audio to ______" dongles built and in stock before the camera even shipped.

Is the shoulder pad removable?

That's probably enough questions for now. This is a big improvement. I'll continue to brainstorm. Thanks, guys.

[roryhinds]

having a docking battery/drive mag type decide would be cool.
and having the options to mount other types of stuff on the back with a solid connection to the camera would be truly modular.

I'd love to see the control panel on the back moved to the side or if you can't make it removable so you can dock the battery/drive mag on the back and control the camera via wifi if needed.

Can't the flash card be built into the camera permanently so it could be with the controls.

I do think the most people would be shooting with the RED RAM when it gets released. CF is great for stripping the camera down and if you gone to be bumped around.

I shoot the RED Drive as much as I can as they are so much easier to managed and kept productions moving compared to CF.

If EPIC has the same removable media port like the R1's CF module, I'd ask does the module have to be removable.

Brook you have some great suggestions.

[Matt Uhry]

Jim,

You just made another quantum leap forward.

I think how you've designed the connectors is GREAT. I LOVE IT. The "Dumb" side should probably be renamed the "Precocious" side.

I sense a shivers of fear going through Munich and Woodland hills.

My one thought is where will I put the battery or does this thing run on Nitro? I like the battery low on the dumb side, helps balance the EVF. Can the design somehow anticipate and accommodate the Battery and EVF ?

It also might be worth it to skip the built in full sized XLRS and use something like a Neutricon SC8/MC8 interface ? or have that area of the breakout box be modular - you are never going to be able to come close to solving everyones audio desires, and why should you ? Just have a port, that lets 3'rd party makers go wild.

Looked at the pictures again, I still love it, total camera porn. Perhaps the port marked TBD is the one for the Mixer ? Brilliant is that's what it is.

Matt Uhry
www.mattuhry.com

[Peter Majtan]

What's in the riser block between the sliding base plate and the main body of the camera? Are there brains in there or is that a block that could be made removable [by having those brains shifted elsewhere in the body... even if it meant lengthening it by an inch]? Having the optical axis unnecessarily low [to less than 80mm... so that video rods could clear the bottom] would open huge doors for accessorizing and building the most badass handheld rig ever. I'm talking crazy low... lower than any film camera. If that block disappeared and was redistributed elsewhere, it would make an enormous difference [and would solve the only ergonomic point that couldn't be solved with an accessory].

I think this houses the cooling of the camera as it is with Red One. If You remove it and the body "drops" lower - the optical axis of the lens will not align with any industry standard accessories (matte-boxes, etc...)

Just my two pesos... :)

[Brook Willard]

Of course, it wouldn't line up without the proper accessory.

I hate to use my old standby as an example, but look at the 235. In order to match the 15mm studio standard to use industry standard accessories, you must install a riser block. The riser block is a piece of milled metal that bolts to the bottom of the camera under the shutter. When you mount the appropriate sliding base plate on the bottom of that riser block, the optical distance from the rod channels to the lens is the proper distance.

Here is a hand-drawn example pulled from Matt Uhry's post in the first rendering thread. I have circled the riser block in this illustration. This block would be removable.

http://www.reduser.net/forum/uploaded/5_1219295033.jpg

While it may look very similar to the Epic's front [non-removable] riser block as of right now, the ability to remove this block opens a lot of doors. The ENG/EFP guys should love it as well, as they'd be able to pass through their video rods.

[Daniel Reichenbach]

Looks great, one of my question is, how EPIC will be usable as shoulder camera, batteries and hard drive as counterweight? Enough? What, if the hard drive will be a less heavier flash drive, the batteries gets smaller? That's a serious problem if you operate the camera yourself, the right hand holds the camera, the left pulls focus. To much weight in front with lenses, focus, matte box. What Brook and Matt illustrated is a kind of Aaton body, and this camera is way of the best shoulder camera I hold in hand. So how could EPIC be married with an Aaton?

[Jannard]

Looks great, one of my question is, how EPIC will be usable as shoulder camera, batteries and hard drive as counterweight? Enough? What, if the hard drive will be a less heavier flash drive, the batteries gets smaller? That's a serious problem if you operate the camera yourself, the right hand holds the camera, the left pulls focus. To much weight in front with lenses, focus, matte box. What Brook and Matt illustrated is a kind of Aaton body, and this camera is way of the best shoulder camera I hold in hand. So how could EPIC be married with an Aaton?

You are kidding... right?

Jim

[Fredrik Callinggard]

You are kidding... right?

Jim

I think it's a yes and a no there Jim. I think they're all seeking the balance that the magazine of the AATON provides. So if you guys could make a clever click on "cradle/cage" where the necessary stuff as drives and batteries could go, then it could counterbalance the weight of the EPIC body.

I think Brooks idea of having a mount for the wifi controls in the back that then can be the mount the "cradle/cage" was a good idea.

[Harrison Diamond]

Well, I'm liking this break out box a lot!

Jim, does this fully replace or mount on top of the existing side panel? Will this mean that without the BOB there will be the option of a side mounted power/drive connector?

[Daniel Reichenbach]

You are kidding... right?

Jim

No, not really, because the cam has a nice shoulder pad doe's not make it a perfect shoulder cam. So, I'm curious about the option. That's all. Sorry if you hate me now :biggrin:

[I Bloom]

I think it's really beautiful.
You guys are wonderful designers.

My main concern is shown here:
http://www.reduser.net/forum/uploaded/582_1219303295.jpg

I believe that minimizing this distance is important. I think I'd rather see the additional area, now on the front bottom section of the camera be on top.

Ok so please understand my underlying reasoning behind the suggestion I'm going to make:
1. There is no reason to think of the camera as having a proper top and bottom or left of right side. On a digital camera we can easily flip the image so the main thing that matters in terms of how we orient the camera is that the operators side is clear in most situations.
2. Most situations where the operator side must be clear, we have more additional clearance above the camera.
3. Its not neccessary to have clearance for rods underneath the mount and in some cases under the lense. When a pulling focus handheld we shall often use a remote focus unit, which can mount from top rods eliminating the need to access the rods directly below the lense.
4. Their is an advantage to having the nodal point as close as possible to the shoulder. It's nice to at least have the option.
Here's what came into my mind.
http://www.reduser.net/forum/uploaded/582_1219302873.jpg
You can see the actual shape of the body is just rotated.

It's late, can't sleep and I'm being creative.
Cheers,

IBloom

[Peter Majtan]

But what if You were to put some wide-front lens (like the Ultra-Prime 10) - wouldn't that interfere with the "Shoulder Mount / Baseplate"?

EDIT: I also think the center of gravity is little more back - somewhere around where the XLR's are...

[Jannard]

You guys need a lesson on board design and cramming ten tons of corn into a half pound bag. Look at the D-20, the Dalsa, The F-35, the Genesis and tell me we aren't doing a miracle here. Once again... this is NOT a film camera. If you want an Aaton on your shoulder, go buy a lot of film. We have been trying to listen and respond. But you guys are crazy... :-) Wouldn't it be nice if we just lowered the price to $2K? Getting 5K to operate at 100fps in a body that is 1/3 smaller than a RED ONE (already a small camera compared to anything close- or, forgot... there isn't anything close) and run at higher data rates without melting the skin off you fingers is a trick in and of itself.

We are pretty well done here.

Jim

[Jannard]

No, not really, because the cam has a nice shoulder pad doe's not make it a perfect shoulder cam. So, I'm curious about the option. That's all. Sorry if you hate me now :biggrin:

I don't hate you... I've always liked you.

Jim

[Fredrik Callinggard]

We have been trying to listen and respond. But you guys are crazy... :-)

Not crazy... GREEDY! and it's all your fault Jim :wink:

[I Bloom]

But what if You were to put some wide-front lens (like the Ultra-Prime 10) - wouldn't that interfere with the "Shoulder Mount / Baseplate"?
That's why you can slide it backwards. On a wide lense you can deal with a little more play... I don't pretend to be a camera designer. I'm just throwing in my two cents.


EDIT: I also think the center of gravity is little more back - somewhere around where the XLR's are...
The center of gravity is going to move depending on what lense you are using. So the position of your shoulder relative to the camera also needs to move.

[Mads Rosenkrantz Grage]

Looks better than ever. A few comments:

- Please make those LEMO key positions better than on the RED ONE. 4-5 o'clock on the back connectors and side connectors would be perfect :-)

- Please make sure the BNC sockets accept twist lock connectors

- Would it be possible to implement reverse scan (Image flip) in the monitoring chain this time round?

-Please ship 1000 EPIC's per week.....

[Daniel Reichenbach]

I don't hate you... I've always liked you.

Jim

Oh, thanks, that makes my day ;-) By the way, got my second RED2222 some days ago, I would NEVERever go back to film, so that should be clear. The picts of RED .... oh I love them. So from the technical side, I'm very happy. I will buy the EPIC, of course. So if I can help improove the design for the daily use of the camera, I'll do, because at the end, I'm very egoistic: As a daily user in a lot of different situation in a small team (Europe is NOT Hollywood, so in a daily use it is hard to have a focus puller and three assistents in every budget) I would like a camera, that helps me, NOT to brake my 50 years old back. I fully understand the problems you have guys. There is no more filmbox in the back, so, some of the counterweight is gone, and on the other hand to move the balance of the shoulder mount more to the front, gives different problems (lens, position of EVF ASO). So from that point, to find a solution – not easy.

And by the way: I like you a lot, Jim, I admire, what you and your team is doing, how you revolutionize the filmindustrie. Glad, to be a part of.

[Spinflight]

Just whipped this up in Photoshop. Am I getting close?

http://www.spinflightstudios.com/red/redepicmod.jpg

[Sam Winzar]

I'm pretty sure Jim understands everyone's concern over where the centre of gravity is, but based on Jim's comments it seems like the camera vitally needs a block below the sensor to house the cooling system.

[Pawel Achtel]

The only concern I have is about what looks like an integrated wedge and rod mount. I hope this thing is detachable and the distance from the bottom of the camera to the optical axis is exactly the same as in Red One: ~109mm. Otherwise underwater housing will need to be re-designed :ranting2:

For me (and I think many others) it would be much better if Epic was a simple swap with Red One and this will be the case as long as the base of the camera is same distance from the optical axis. :help:

Other than this it is a bad ass.

[Harry Clark]

Jim,
First let me say THANK YOU. The Red One is an incredible achievement. And I'm constantly amazed that your company does what few others do: listen to the customer's suggestions. THANK YOU for the $2,500 credit for us early believers. Kudos on addressing the accessory finish concerns, the lens mount upgrades, the forthcoming audio board swap and i-data upgrade. And giving those of us who want to step up to Epic the option of a full credit on a trade-in of a Red One is certainly above and beyond.
I'm sure my sentiments echo those of many people posting in this thread.
So please take their suggestions as constructive. When you say, "we are pretty well done here" it sounds like you're giving up or are tired of hearing it (I know you're not; just exasperated at us whiny film guys)
But Brook's and Ian's laments about the CG when handheld are well-founded. We're getting into increasingly lighter cameras and media, and ironically, increasingly heavier lenses. The ability to offset the weight of a Master Prime is tricky for sure. And Ian's right; the CG needs to be adjustable because lenses have different weights. I actually think Spinflight might be on to something with his render... unless it once again RAISES the optical center and CG. Ian's "flip the camera" idea is good too, assuming cooling needs do not prohibit this.
So please Jim, take the comments here in the spirit which they are given: helpfulness. We all want Epic to succeed and be our next camera. Plus, isn't it easier now when it's just CAD drawings and resin mockups? And it's SO close. You're at the goal line here.
On the plus side, the connector layout and breakout box looks FANTASTIC. Moving the power and drive sockets to the side is really smart.
The flat top of the body makes for some flexible layout options, and low-mode on a Steadicam should be a breeze. The top would also be an excellent place for a wireless focus receiver and video transmitter when going handheld. It's never a bad thing to have a lot of mounting surface! ;)
Looking forward to the development of this camera.
And again, THANK YOU.
Cheers,
Harry

[Ed Wes]

Well done!!! Looking at the render, I wonder if when mounting the battery on the back with the control panel on the left side, which would be my preferred documentary configuration, if access to the CF card (and now that I take a second look, the back row of cable sockets on the side) would not be restricted by the battery.

It is most probably not feasible, but if the CF card could move with the control panel(or a second CF port)...alala. In those frantic documentary situations, when all hell is breaking loose around you and one needs to move like the wind or those intimate moments where the slightest movement intrudes, the ability to change media without removing the camera from ones shoulder would be spectacular.

With regard to the placement of the cables, if not absolutely perfect this is a huge improvement. The countless faces of sound recordists distorted by anguish/anger as I butted their delicate XLRs into the dirt for the umpteenth time, flash through my mind.

With reference to limos, return cables and breakout boxes, I have often wondered why in this day and age the sound recordist cannot get a video feed of their own. I can only imagine the look of anguish/anger that countless sound recordist have seen when their boom intruded into shot at the critical moment. They would also be able to see an accurate camera sound level meter.

Personally, for documentary work, I like the handheld ENG type configuration, with the motorized zoom housing on the canon/fujinon lenses that rests on the palm of the hand leaving the thumb and the fingers to operate the record button and zoom, that leaves the left hand free to juggle focus pull, aperture pull and manual zoom (paralleled with grip accessories in film by Aaton and Arri to some extent). With the left elbow tucked in securely against the torso and the camera tucked in against the neck and cheek, a very flexible yet stable handheld position is possible, often more stable than the dinkycams with their built in stabilizers. Yes, I am old school and yes dinkycams can be amazing but they can be frustrating. If these are the type of accessories that Brook is talking about re the riser etc, I am not sure that I understand why the present situation would inhibit "the most badass handheld rig ever". By the way Brooke, thank you for you untiring concerns about the ergonomics. You articulated many of my concerns since that magical moment I managed, here on the southern tip of Africa, to lay my hands on Red One a couple of months ago.

I still have some concerns about loops of cables, to the monitor, to the drive, to the battery and to the viewfinder. Their propensity to get caught on things is obvious. I realize that this is partly the bye-product of flexibility, but I wonder if some thought about the cables and the sheathing materials used (softer more pliable and less elastic), some strategically placed clips on the body and arms and some right angled plugs might not help.

I am not sure why anyone, having seen this new layout for the cable sockets, would want to return to the old and why this would be an optional breakout box and not the standard configuration.

To the Grand Master and his mostly invisible ninjas thank you for making it happen. Working from the inside out, from the logic of the boards, the components etc has its own logic and creates its own vision. Working from the outside in, from the needs of day to day shooting creates its vision. We do not want to buy another camera we want your camera to be all that it can be, synthesis.

Wow, I have just seen Spinflight's fight of fancy. If the components can fit....

This process of design will soon be written up in books. Red will be the definitive case study. I am glad I am here to witness it.

[Peter Majtan]

That right-side render looks great Spinflight, however I can't help myself but to bring this up: Based on my experience with both the Aaton and the 235, when You slam on some of the wide-front lenses the viewfinder tends to get in the way. With the Epic body this far back on one's shoulder - wouldn't this create the same situation, especially given the monstrous size of the RED's EVF? Even if the EVF didn't touch the lens, it would most certainly appear in the corner on those wide shots...

Just my two pesos... :)