I take my hat off to you guys at Red. What you have accomplished is amazing, truly amazing.
Here is a clip of the first footage shot at 300 fps from my new best friend, my EpicM. But first let me give you a bit of background.
Mix up a one-day, £300,000 shoot in Spain with a Formula 1 car, Pirelli tyres, the BBC and a no-show Phantom. What do you have? Pressure! Up steps my brand new EpicM. Trouble is, itís still on an early build so itís ďBetaĒ twitchy and limited to 120FPS.
Then Alan Piper calls me and tells me thereís new firmware for the Epic, 300fps if you need it. I could have kissed him.
Iím busy shooting in London but immediately call Andy Trewartha my Focus puller whoís rigging the camera in the pits in Spain. Heís had a difficult morning. The DOP, Giles Harvey, loves the camera but feels frustrated because he knows what the camera could do.
Andy logs on, downloads the new build and in minutes is loading it onto the Epic while itís being rigged onto the camera car. And there, amongst a whole host of new functionality, is that magic number. 300 fps!!! So easily dialled in, itís as if itís been there forever.
Where else can you get such a camera, where else can you upgrade in the field and where else can you do all this for free? The camera never missed a beat and to quote the DOP
ďItís just such a new and exciting way of working. Broadcast cameras seem so pedestrianĒ.
We are not a feature film or a multi-million pound drama but we are busy industry professionals, working day in day out, producing huge amounts of programming. And the Red cameras fit in perfectly. They raise expectations, lift production values and bring fun back into shooting.
Gentlemen, the game has changed.