EPIC Dynamic Range...

[Jon Shaw]

13.5 stops... awesome

[Larry McKee]

Backend is REDstation but it's important to remember that choosing the right REDcode rate for the right situations is key to a sensible workflow.

There's going to be a tendency to want to shoot at the highest redcode when a lower redcode is more valid and sensible.

There will be exceptions, but I think that RC50 will be more than enough for most situations.

[Stephen Gentle]

isnt epic same sensor as the MX that is now in red ones?
so does the MX sensor have the same latitude?
it should yeah?

Yeah, but Epic does it in 5K at 100fps!

[Jon B.]

Can't wait to see. Also eager to find out what the fps limits are. thanks for sharing Jim!

[David Battistella]

May I ask?

1. How many minutes of lossless would you get on the "onboard SSD"?

2. Are the SSD modules hotswapable?

PS: cool.

David

[Brook Willard]

Backend is REDstation but it's important to remember that choosing the right REDcode rate for the right situations is key to a sensible workflow.

There's going to be a tendency to want to shoot at the highest redcode when a lower redcode is more valid and sensible.

Very good points. I'm hoping that REDstation expands to faster connections than SATA... things like SAS and USB 3.0 [when it matures]. As data rates increase more and more there will be increased demand for faster transfer speeds. The laptop will be a thing of the past for loading quite soon...

When we're talking about higher frame rates, where will the bottleneck lie? In the data throughput or the ability of the camera to compress data at various levels? I'm wondering if 2.5:1 compression is more of a computational challenge than, say, 10:1 compression.

I'm absolutely thrilled that you guys have effectively built the "uncompressed" option some of us have been dreaming about into the camera.

[David Battistella]

There's going to be a tendency to want to shoot at the highest redcode when a lower redcode is more valid and sensible.

It will be impossible to get people in this indusrty to heed that excellent advice. Most folks will think they have to shoot everything at the highest quality all the time.

David

[Tim Whitcomb]

It will be impossible to get people in this indusrty to heed that excellent advice. Most folks will think they have to shoot everything at the highest quality all the time.

David

Don't know if I wholly agree with that David. Recording RAW is RAW, that's the beauty. 10-1 is pretty sophisticated compression and satisfies the hell out o fus, and for those that need MAXIMUM WARP. Well we welcome the $.

I think waht's cool about what Cioni preached at Reducation was our responsibility to be good politicians when shooting Red.

Fit the workflow to the client, Caboose effect. Many of ours come back because we saved them $.

That all said, I hear ya on the "some people". I'll buy my next car with his obsession with uncompressed :)

[Jason Ing]

Backend is REDstation but it's important to remember that choosing the right REDcode rate for the right situations is key to a sensible workflow.

There's going to be a tendency to want to shoot at the highest redcode when a lower redcode is more valid and sensible.

Is there a Redcode for Idiots Chart that explains the pros and cons?

[Tim Whitcomb]

Is there a Redcode for Idiots Chart that explains the pros and cons?

Yes, its called the CABOOSE EFFECT.

What is your deliverable? Film out? DVD? TV? Web? etc.

Once you know that, you simply work backwards from there
in determining best capture and for off-line/online workflow to accomplish
your deliverable.

Filmout with VFX = RC250 (read: most want as uncompressed as possible)

DVD/WEB/TV = RC28 -RC42 all work wonderfully depending on the speed of your home MAC system. Laptop? Desktop? etc.

PRORES4444 finish from 4K FUll RED Rocket™ Debayer?

R3D RAW Camera RGB/Redlog full 4K online finish on the Pablo?

All Budget dependent. Know your target deliverable, work backwards from there... Red is as simple or as complex as you want to make it.