I'm surprised that "Epic"...

[Michael "Dorkman" Scott]

...isn't a 65mm-format camera. That's what I think when I think "Epic".

Like 3D, the 65mm format seems to be gaining some ground again, with directors like Christopher Nolan shooting features like The Dark Knight (only certain sequences, I know, but still) on the close-enough-to-refer-to-it-interchangeably IMAX format.

There's so much confusion as to what makes Epic worth so much more than RED ONE, being that so many of the specs are similar, and may become even moreso with the Mysterium X sensor upgrade for R1.

Having a digital 65mm camera with the same quality and workflow as the R1, with the option of high frame rates, would create a truly separate market tier for people who would want to purchase them, and give people who already have a solid RED workflow good cause to upgrade or rent them. As it is, 5K for the sake of 5K doesn't make too much sense to me personally, when 4K is the current top-off point for all but the most expensive 35mm work.

But 5K with the look of 65mm is obviously different, and worth that extra resolution and, IMO, extra cost. Suddenly you're getting the same savings in film stock that everyone likes to tout about digital in the first place, but with 65mm, which as I understand it is substantially more expensive and therefore substantially better savings.

I'm well aware of Jim's latest "mind your business" post, and I don't presume to tell RED their business, or that they "should" do this. It's just what struck me when I first found out about the Epic on Monday morning.

[Shawn Bannon]

yeah but look at how many Feature Films were actually shot in 70mm, not a lot. Also the lenses for 65mm area are usually converted medium format lenses, like hasselblad and mamiya lenses for example. not a huge amount of options like in the pl mount or 35mm still realm.

I'd like to see a RED vistavision size sensor one day, this would accomplish exactly what you are talking about. And you could rehouse or use off the shelf nikons or canon style lenses.

a Vistavision sensor would be approximately the same size as 35mm still film.
8 perf vs Reds current 3 perf sensor size

[chuck colburn]

VistaVision is exactaly the same as 35mm still. The film runs horizontally like a still camera does.

Like this...

http://cgi.ebay.com/35-MITCHELL-FRIE...2em118Q2el1247

http://cgi.ebay.com/KEM-35mm-VISTAVI...2em118Q2el1247

[Jens Jakob Thorsen]

BOORING....if it just a 4:3 sensor so we can use anas properly I will be so happy

[Gunleik Groven]

how much 65mm glass is out there?

[Fredrik Callinggard]

how much 65mm glass is out there?

HAHAHAHAHA definitely not enough for Epic to be 65mm HAHAHAHAHA or Jim is truly planning on selling a lot of glass.

[Jens Jakob Thorsen]

DORKman????!!!!

[Shawn Bannon]

how much 65mm glass is out there?

not a lot. I know zeiss has a full set for 65mm origination in the maxi Pl mount.

Thats why i recommend the Vistavision size sensor, so much glass out there and you could use anamorphic lenses properly.

This would be a cool specialty type camera to be announced at NAB next year.

[Warren Kommers]

I wish epic was 3D(two 4k x sensors) out of the box.

That is the next revolutionary step....and yes I know that I could buy two red ones and put them together like others are doing but surely these rigs can get smaller and cheaper. This is more important to me than 5k. The RED at 4k on a 50ft screen (in daylight) looks more like 65mm to me anyways.

[Tom Lowe]

Yes, 65mm at 6K resolution. The larger sensor with larger photo sites should help with low light and a reduction in noise, right?

You also go straight to IMAX screens with that. The DMR of Batman Begins was 6K, I think, but Red 65 would be a hell of a lot cleaner and better than those 35mm scans.