“A nuclear reactor in a matchbox” is what Jim Jannard, creator of Red Digital Cinema, has called the Epic.
We’re very proud to offer the Epic-M Digital Cinema camera in Colorado to capture your project in stunning 5k.
The Epic offers an incredible list of features (5k, 300fps, HDR) and it does it all while SMALL (not shown above with a huge lens!). The form factor is a revolution in how the world will work with cinema cameras. Video functions on DSLR cameras have proven that. A small camera allows you to move faster, get in tighter places, minimize your crew, shoot more discretely, and ultimately achieve better shots.
Weighing in at only 6 pounds, the Epic is light enough for handheld work. Despite the light weight and small size, the Epic is the most solid camera I’ve ever held. Between the titanium PL mount and metal body, the camera is a tank… a workhorse built for long days in extreme conditions. Various users on Red’s own Reduser.net have cited specific examples of shooting in extreme hot and cold conditions without dropped frames, without technical glitches, without problems!
The Epic is also extremely modular and customizable. Every piece of the camera can be configured. It took us a while here at 5K Insight to figure out the best configuration for general shooting situations. New accessories are coming out all the time, so it’s one of our primary goals: to stay on top of the latest and greatest.
But shooting is only half of the equation… what about post?
The Red Epic post workflow can be as simple as working the Canon DSLR workflow. Seriously.
A lot of myth surrounds the Red workflow (lots of complications in the early days of the Red One) but in truth, it’s pretty simple (and it’s getting simpler all the time). Shoot-> Redcine-X -> Online or Offline Edit -> Finish.
In the case of a tight turnaround, Adobe Premiere CS 5.5 integrates perfectly with native R3D Epic files for an online edit, and Avid Media Composer 6 promises the same feature. For bigger/longer projects, Redcine-X makes the offline workflow dead simple. Export to your favorite editing codec (DNxHD, DPX, Prores) and you’re off to the races.
Within this simple process, there are a myriad of customizations to suit your specific needs, whether it’s a project with a tight turnaround, or a feature film with heavy VFX work. Either way, most editing solutions incorporate great ways to work with the RAW data of the Epic (that’s why you’re shooting RAW, after all).
If you’re looking for a camera that produces the world’s greatest images with the most flexibility, built as a workhorse and ready for anything, the Epic is an unparalleled choice.