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  1. #161  
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    3:1 REDCODE for 5K Full Format (5120 2700) at 24 fps
    9:1 REDCODE for 5K Full Format (5120 2700) at 96 fps
    2:1 REDCODE for 4K Full Format (4096 2160) at 24 fps
    7:1 REDCODE for 4K Full Format (4096 2160) at 120 fps

    Exciting camera, although I agree it is getting a bit tricky with all the sensors/bodies. The commercial producers I work with often don't know/care about the difference between an epic-w or weapon helium. To them it's the 8K red.
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  2. #162  
    I'd like to put this out there. I'm reading a lot of "why not make the sensor 6k, or this, or that way". This sensor was originally designed specifically for 1 client, for extreme low light use, and to be used in Space (not too many clients to try and guess from ;). From the little teases that Jarred did on Facebook a few months back, I bet he just loved this thing too much to have it not see the public eye, and they tooled it a bit to get the 'normal' mode. The direction of RED cameras with the sensor swap program is that you get a body, and all of these different sensors are just "options", or 'film stocks'.

    The whole sensor swap program is little out of reach for me personally, cost wise, but I'm thinking as time goes on, the price may go down for entry, and per swap.
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  3. #163  
    Senior Member Nick Morrison's Avatar
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    Well, to be fair it's shot 48fps and at an F2 at 2500 iSO.

    So if you were shooting 1.4 and at 23.98, you'd be two stops cleaner - ie 10,000 ISO.

    Oh, and it's anamorphic.

    Quote Originally Posted by Christoffer Glans View Post
    Looking at the R3D previews, I pushed it to ISO4000, but even if it's been said that it's performing better than the varicam in low light, I see a lot of noise here that the Varicam at ISO5000 doesn't show. The other clip of the city is also a timelapse, meaning it's not exposed in high ISO low light but normal exposure, so it's not really a low light clip. What am I missing?

    Last edited by Nick Morrison; 03-27-2018 at 08:34 AM.
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  4. #164  
    Member keith soucy's Avatar
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    sign me up! get me on the list to go from E-W Helium to Gemini
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  5. #165  
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    How is the standard mode performance? Can this replace a Helium? Or should this be considered a second camera as a separate tool?
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  6. #166  
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    Quote Originally Posted by Jarred Land View Post
    http://www.red.com/store/products/red-epicw-brain

    Upgrade path options are a heated discussion internally right now. Someone please send Brent some more flowers, I need all your help :)
    Count me in on an upgrade from my Scarlet-W if you guys make this happen. This looks like my dream camera. 96fps without cropping the sensor and dual ISO is perfect for what I do. 8k was always a little overkill for my needs which is why I went SW over Epic. Exciting stuff guys!
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  7. #167  
    Senior Member Nils Ruinet's Avatar
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    So Jarred, I guess DSMC 3 should be about the ability to swap sensors on the go (without sending it back to Red HQ).
    Buy all the sensors you need (8K Helium, 5K Gemini, 8K Monstro, Monochrome, etc...) and chose the one you need for each project. Like interchangeable OLPFs. Like Film Stocks.
    Definitely not easy, but that would be a real game changer. ;)
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  8. #168  
    Senior Member Andrew R Lewis's Avatar
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    Quote Originally Posted by Nils Ruinet View Post
    So Jarred, I guess DSMC 3 should be about the ability to swap sensors on the go (without sending it back to Red HQ).
    Buy all the sensors you need (8K Helium, 5K Gemini, 8K Monstro, Monochrome, etc...) and chose the one you need for each project. Like interchangeable OLPFs. Like Film Stocks.
    Definitely not easy, but that would be a real game changer. ;)
    Hard to imagine that is not the direction Red is going.
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  9. #169  
    Senior Member Thai Christen's Avatar
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    Quote Originally Posted by Nils Ruinet View Post
    So Jarred, I guess DSMC 3 should be about the ability to swap sensors on the go (without sending it back to Red HQ).
    Buy all the sensors you need (8K Helium, 5K Gemini, 8K Monstro, Monochrome, etc...) and chose the one you need for each project. Like interchangeable OLPFs. Like Film Stocks.
    Definitely not easy, but that would be a real game changer. ;)
    Absolutely!
    Sensor swap programme sounds cool but not sure how convenient it is, especially for folks outside of the US. Shipping cost is expensive, then downtime. At least 3 weeks from the time you send in your camera until you get it back.
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  10. #170  
    Senior Member Tommaso Alvisi's Avatar
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    Quote Originally Posted by Andrew R Lewis View Post
    Hard to imagine that is not the direction Red is going.
    Especially after Sony Venice...
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