An Epic First Day :)

[Tobias Straka]

This thread makes me horny...

Post of the day. Agreed...

[Elsie N]

Does 3-D work in low light shots?

[Patrick Tresch]

Does 3-D work in low light shots?

As of my experience with 3D. It works also in low light shots if there is some contrast in the frame and in the specific area where you want to have a depth sensation. I white surface without any detail will also kill the 3D feeling and be seen as a 2D picture without depth.

Pat

[Shawn Nelson]

Thank you Michael! Very informative and appreciated thread.

Question...why is the data 2-3x MX RC42?? I was expecting about 1.5x. I dont understand more than double.

[gbalaji]

I believe John, Michael doing great job with Epic. Thanks for the post to re-evaluate our Digital cinema camera knowledge with MX & Alexas. It's time to move to next stage of digital cinema data management.

[Jeff Kilgroe]

Question...why is the data 2-3x MX RC42?? I was expecting about 1.5x. I dont understand more than double.

More pixels, more bits per pixel, lower compression ratio.. At 5:1, you're looking at around 120MB/s for full 5K 5120x2700. This translates into an average of about 7.3GB/minute or falls right into the 6GB-8GB/minute that Michael mentions.

[Brian Petrie]

More pixels, more bits per pixel, lower compression ratio.. At 5:1, you're looking at around 120MB/s for full 5K 5120x2700. This translates into an average of about 7.3GB/minute or falls right into the 6GB-8GB/minute that Michael mentions.

Agree, Jim always stated 5k is 60% more information that 4k, add in 16 bit and lower compression and I'd say we are lucky it's only that much more haha.

[Brian Petrie]

We are also lucky we got SSD!

[David Lagos]

What is important for all soon-to-be Epic users is to start brainstorming a way to manage their Epic data which, compared to RED MX:
1. is 2-3 times larger than MX RC42
2. is saved to cards that are 128GBs (8x larger than 16GB CF)
3. requires window-burned 3D side-by-side file creation (for 3D shows)
4. requires convergence adjustments (popular 3D trend is to shoot parallel)
5. requires 3x copies of all media prior to leaving set each day

Without a newly optimized set of gear, productions could fall behind set and the data-techs/DITs/wranglers will be left on set backing up and processing for hours after wrap.

The simplest way to start preparing for this is to make sure you can maintain the ability to move files in real time. In other words, your system needs to be capable of moving up to 8GBs-10GBs to multiple locations in 1 minute's time. RED has helped solve the problem with the new RED Stations, which deliver incredible speeds of SSD transfers to multiple targets. From there, you need to optimize your systems with the ability to:
1. check sum all data to each target directory (2-3 total)
2. color, sync, converge every shot
3. process AVID, ProRes, H264 (we do all 3 for every mag)
4. transfer to a shuttle drive

Some hints to begin designing your workflow (both on set and in post) is to:
1. 100% eliminate dependance on FireWire800.
2. Rockets are standard.
3. Look at different transfer potentials.
4. Multiple Computer Terminals.
m

So, I guess this won't be enough when I get my Epic?

17" MacBook Pro.
-2.8GHz Intel Core i7.
-8GB 1066MHz DDR3 SDRAM
-500 GB Serial ATA Drive @ 7200 rpm.
-Replace my optical drive with the OCW Data Doubler + Mercury 500GB SSD.
-Mobile Rocket HBA Kit
-New 1.8" SSD module, media and station from RED.
-Magic wand

Thoughts?

[Leo Sardello]

I just wanted to chime in with my thanks to everyone who’s posting in this thread and on this forum about their real world experiences. The insights you pass on to us are invaluable and it is very kind of you to do so while you are hard at work in production. The free flow of ideas, experience, and knowledge keep the creative community alive. Thank you.