FUN TOYS I LIKE TO PLAY WITH

(also available for rental depending on availability)



KESSLER  5 FT. CINESLIDER with ORACLE CONTROLLER

for real-time slider moves as well as  Time-lapse Motion Control with with the Red Epic or Canon 5D MK2.

The Kessler system is very portable and lightweight, but also stable enough to support an Epic with our custom remote head for silky-smooth motion. Slider and remote head both run on 12v and can be controlled at up to 100m via a single CAT5 LAN cable.


CUSTOM BUILT COMPACT REMOTE HEAD

for real-time and time-lapse recording with Kessler Oracle Controller.

Based on Dietmar Nill’s tripod head design, we’ve added motors for complete control. Perfect size for the Red Epic.


CANON 5D MK2

always a great DSLR for Time-lapse and still photography, I also like to carry a 5D as a second unit and back-up cam as it can share lenses with the Epic.


EASY JIB

a compact jib-arm that is variable in length from  1 - 1,5 meters that fits all standard 100mm tripods and can reach a hight of around 2.5 meters. Small transport size and low cost, the Easy Jib can easily handle full size broadcast camcorders as well as smaller DSLRs and of course, my Red Epic.


ABC MINI CRANE 35O

3,5 meters long at just under 7kg, the Mini Crane is actually lighter than the Easy Jib and reaches a max hight of up to 4.5 meters on a standard 100mm tripod. Supporting a 10 kg load, this crane is backpack-able and is custom modified to carry our remote head or even supports a standard video head for manual tilt and pan.

5K DIGITAL 35MM Camera Package

Red EPIC X


HIGH-SPEED MOVING IMAGES WITH THE QUALITY OF DSLR STILL PHOTOS

Finally, a dream come true - a digital camera that enables professional motion and still imaging with a combination of quality and frame rates never before available,  and all in a compact, light weight and affordable package. Red makes shooting fun again!

NEW FEATURES with firmware 4.0.3 - just in time for X-mas 2012:

30 SEC. LOOP RECORDING, IN CAMERA SPEED-RAMP AND EXTENDED TIME-LAPSE RECORDING !

PLUS: Our Native R3D Raw Workflow for Realtime Editing without Transcoding or Red Rocket using Premiere Pro CS6 is online and working reliably. In real world editing on our on current projects we have imported and can access over  40 TB of original Raw data without transcoding!

RED EPIC X : FEATURES



MYSTERIUM-X  5K Full Frame Sensor with an aspect ration of 1.9:1 = 5120 x 2700 PIXELS

the ability to chose different frame sizes, aspect ratios, compression factors and frame rates gives the Epic unheard of flexibility.


HIGH-SPEED IMAGING

2K widescreen 2.35:1 at an amazing 300 FPS eliminates the need for a special high-speed cam in most situations


BREATHTAKING 5K STILL AND MOTION IMAGES at up to 120 FPS

Still images shot on Epic at 120 frames per second are comparable  in size and quality to still images from the Canon 5D MK2

which reaches a max of ca. 3 frames per second, moving images are in a completely different universe.

Frame grabs from 5K motion images can easily be printed as a double page spread in high quality magazines. Shoot once, get still and motion images from the same footage - only possible with the Red Epic.


DEPTH OF FIELD EQUIVALENT TO SUPER 35mm FILM

1.3 x crop factor compared to full frame 35mm still image at 5K


RAW ACQUISITION FORMAT FOR ULTIMATE QUALITY IN POST  and FUTURE PROOF ACQUISITION

Your archived Red Raw footage gets better with every software update thanks to improved color science and new algorithms. True to Red’s motto of “OBSOLESCENCE OBSOLETE” your footage will only become more valuable as we move to presentation formats “beyond HD”. Thanks to RAW your high quality footage is preserved in its native resolution and maximum image quality is always accessible.


FOR THE TECH FREAKS:

16 BIT IMAGE PROCESSING

over 13 STOPS NATIVE DYNAMIC RANGE, 18 STOPS with HDRX

Nominal ISO 800 - VARIABLE FROM 50 - 12,800 ISO (IMHO 320 - 1280 ISO is reasonable, 640 my choice most often)


DIGITAL MEDIA: REDMAG SSD : 128 and 256GB Media

REDCODE RAW : Variable Wavelet Compression choices from to 3:1 to 18:1


MAX FRAME RATES of 1-120 fps 5K and 4.5K

                                             150 fps at 4K

                                             200 fps at 3K

                                             303 fps at 2K

                                             400 fps at 1K


PLUS FULL WIRELESS REMOTE CONTROL UP TO 50 METERS via Wi-fi REDMOTE


MY TWO CENTS: SHOOT  5K WS for LANDSCAPES, at LEAST 3K for HD DISTRIBUTION when possible, and 2K for HIGH-SPEED when necessary. For HD playout, 3K - 5K down-rezzed to 2K or HD looks stunning.


I like to shoot at ISO 640 with a compression ratio of 5 or 6:1 for motion capture with highest quality results AND more or less acceptable data rates.


My sweet-spot of 6:1 gives you a brilliant 299 fps at 2K WS, (300 fps needs 7:1) up to 137 FPS at 3K, and  60 FPS at 5K WS


Still images can tolerate a much higher compression ratio of 13:1 for 5K WS at 120 fps, motion imaging quality suffers more from higher compression as noise level is more noticeable but acceptable quality varies from image to image. Darker images with deep blacks have a harder time with higher compression than than high-key shots.


But remember, on planet Red “EVERYTHING IS SUBJECT TO CHANGE” - Life is getting better all the time!