The RED Epic FF35 with 24megapixels is Official !

Discussion in 'News' started by summerleif, Nov 13, 2008.

  1. The RED Epic is a still digital photography camera. The RED Epic is a digital cinema camera. The RED Epic is modular. The RED Epic looks like a game changer and a Canon 5D Mark II killer in many respects. The RED Epic FF35 with 24x36mm sensor capture 24megapixels 6000 x 4000 pix at full 16bits. Other sensor sizes are available for the modular system. A large suite of lenses are being made available with the release. Everything will be different after this. Read all about it with amazing detailed specs and photos here: Gallery of photos and specification sheets. I am interested if adapters are available for my existing lenses. My studio work would welcome this tool if its noise, dynamic range, and ISO capabilities are sufficient.
  2. The FF35 "brain only" module is $12K. Then you have to buy all the other components like the viewfinder. The 5DII is dirt cheap in comparison. Of course the RED is a top of the line movie camera with the kind of features that movie professionals depend on. The 5DII video feature while extremely impressive is not set up for the movie industry.

    The smaller sensor sizes are much more affordable ($2500) but then you should compare it to cheaper less than full frame cameras.
  3. the average still photogrpaher is notthe target market for tis. Who is? Advertising photographers who wan to shoot commercials and videos, cinematographers who want to own their cameras ( and rent them back to the productions they work on), motion picture production rental houses, directors, big corporate multi/media production companies, documentary film makers, the big networks; CNN, FOX, CBS, ABC, BBC, NBC, etc. This isn't a product that Canon (still camera division ) or Nikon are intitially worried about -- down the line might be a different story. The companies that need to be very concerned right now are Arriflex, Panavision, Sony, Phillips. The 617 version looks awesome.
  4. I'd say the Red Epic FF35 much an EOS 5D MkII killer as a Ferrari F430 is a Mazda Miata killer.

    Maybe if it was about 1/10 of the cost it could compete.
  5. The companies that need to be very concerned right now are Arriflex, Panavision, Sony, Phillips.

    From what I'm hearing on sets about the current Red video cameras, the companies that need to be concerned are the ones that use them to shoot their show. Some directors of photography like them because they can use film camera lenses. But for now, most DP's won't touch them. I've heard bad things time and time again from video engineers about the software that's used for the Red's raw conversion and archiving. They are also very susceptible to shutting down in hot environments. And fast and easy replacement cameras are not sitting on rental house shelves when there are problems.
    When they work out the bugs, and more post production houses start being able to work with the files, things may change.
  6. Red is working very closely with Adobe at the moment on DNG development. I anticipate the files importing and
    effortlessly with CS5 and hence making the camera assessable to anyone that can afford Adobe's master collection.

    "..on the other hand maybe Canon, Nikon, Phase One, Leaf, Jenoptik, Dalsa, Kodak, and Hasselblad do need to

    Seeing how you can mount Nikon and Canon and many others lenses, I think they should be.

    I remember the similar skepticism in the mid 90's with Kodak/Nikon's DSC...$30,000 for a 1.3 meg tethered
    camera body. At least it wont be 14 years before we're all using some sort of Red.
  7. I heard RED offers no support for their cameras. What good is that
  8. First time I ever heard that. My impression is the opposite. Red has their own forum and one of the owners,
    Jim, heavily participates it in it. I find that rare today, talking to "the boss" and any/all issues I've noticed there are
    resolved quickly.

    They are known for providing top notch small business personal
    service. Their infrastructure may be smaller than what one would expect for such an expensive piece of gear, but they
    are a small start-up in their infancy all the while blazing a frontier trail in the industry.
  9. Shouldn't RED be concentrating on killing of 35mm motion picture film, which they claimed they would do over a year ago,
    before shifting gears and going after DSLRs?
  10. Pretty camera but it's cost would kill me. There are Digital backs for the Mamiya 645 that have "Come Down" to
    $6,999.. So, if anything the Mamiya Digital set up is by far more affordable and it can still do 120, 220, 135,
    and Polaroid film..
  11. I guess it's just natural for things with red circles on them to be expensive ;-)

    One of Nature's warning signs?
  12. RED is making a new announcement on the 2nd of December which s supposed to render the last one irrelevant in comparison. I think it may have something to do with price reductions as the stills modular system is perhaps a little over
    priced at the moment.

    Also, anyone who knows RED, knows that Jim Jannard truly cares about the photographic and video industry, he's clearly
    not in this for the money (having already made a few billion from Oakley. It remains to be seen if it will be a viable
    alternative to the high end Cannon/Nikkons but will certainly have Hasselblad and PhaseOne a bit worried. The RED one
    has virtually revolutionised the film industry in the year it's been out.
  13. it looks terrible. I'm sure it's a wonderful camera though. Reminds me of one of those crappy Hondas sup'd up. Looks like the band hinder
    painted their parts ewwwwww. My immature comment for the day.
  14. Very non-organic look, like somebody built it with a Lego set. While looks won't matter to the final image, it may affect
    ergonomics. All those square edges look uncomfortable to hold for very long.
  15. I just heard that a new start up is coming out with a competitor of the Red. You'll read it soon in the news...a new product from Purple...

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