Red’s new approach – modular digital stills and motion cameras – 8 new models

Today Red announced 8 (yes, EIGHT) new cameras. Sensors range from 2/3″ to 186x56mm (yep, that’s 7 1/3 by 2 1/5 INCHES), with resolutions from 3K to 28K, with prices from $2500 to $55,000 for the “brains” of the units (more on that below). Incredibly modular to a Legos or Erector Set degree. There’s a HUGE amount of information up on Red’s website here, but after the jump I’ve organized/summarized, have some analysis, and answers to questions not found on their site. Continues after the jump….

OK, first off, go read what they posted here. Got questions? Yeah, me too. So keep reading. First off, I wanted to wrap my head around this more.

Also, this is as I understand it, as explained by Ted at their presentation on the Fox lot on the 13th, and he said he might get some stuff wrong, and I may have heard incorrectly, and all specs subject to change, so this isn’t gospel. Duly warned.

Big Picture

Red wants to build highly modular cameras that’ll shoot excellent stills and motion. A motion camera that shoots stills, and a stills camera that shoots motion, they say. They seem to be more biased towards motion, IMHO – there are no optical viewfinders to be found anywhere in the lineup (so no looking through the lens), and there are no uncompressed recording options, even for stills. Ted defends this saying users will be happy with what they get. Hmm. We’ll have to see, especially at the new incredibly high resolutions (and shallow depths of field!) these new systems will be capable of, pulling focus could be Mighty Tough, even with the new 1080p outputs (yes, two of’em) on Epic. My gut says most users will be satisfied most of the time..except for those wanting a dedicated DSLRs full functionality.

These will be incredibly modular systems – there are a bunch of accessories that attach in series, like Lego blocks, on the back – things like batteries, control panels (which are wireless up to 100 feet, super slick!), even video outputs are not part of the camera body. It looks like they’ve listened to the pros about accessories, so the balance CAN be better on this one than the Red One, but it is not that sunken football blob wrapping around your shoulder some wanted/dreamed/hoped for.

Oh, and these are all preliminary renders, so I’m betting visually it’ll still change quite a bit before it ship – so give them your feedback to improve anything BEFORE they lock it down…

These will cost more than you will think at first – when you buy the “brains” of the cameras, from what I can tell, you are NOT getting any of the following:
-recording interface
-recording media
-a handle to hold the fool thing
-a lens, except for the unpriced fixed lens in the 2/3″ Scarlet line
-a viewfinder of any sort
…and so on.

So if you thought the $17,500 Red One was incomplete, these are even moreso.

So I’d be prepared to spend at least double, if not 3 or more times, the cost of the brain on accessories, if past trends continue (I’m about $50K into my purportedly $17,500 Red One, and don’t have sticks, head, matte box, follow focus, microphones, and a slew of other stuff that would make a complete shooting package that I still itch to have).

Hmm – that sounds like bitching, it isn’t intended to be – just the reality you need to be aware of.


There are two product lines, Scarlet, which is lower end professional/highest end prosumer, and Epic, which is full on, heavy duty professional. Here’s a chart with all the hard data I could find from Red’s website and their presentation today:

(click above to pop-up the “All The Details” chart in its own window)

This chart includes product name, price, estimated ship date, sensor details (format, size, dimensions, pixel size, pixel dimensions, aspect ratio, megapixels), max frame rates at full res, max Redcode data rates, bit depth, estimated dynamic range in stops, and what lens mounts will work with the cameras. Basically, all the numeric data available at this time on all the new cameras. You’re welcome.


Basically, Red has two new sensors in a variety of sizes:
Mysterium X: available in 2/3″ and S35 sizes
Monstro: FF35 (that’s Full Frame 35, as in the size of a photographic, not cinematographic, piece of 35mm film – runs wide vs tall), 645 (medium still photo format), and 617 (stupendously huge, 2 1/2 times size of IMAX)

Mysterium will bump dynamic range about a stop, from Red One’s 10+ stops to 11+ stops, and is still a 12 bit A/D (analog to digital conversion)
Monstro will ship later, has 13+ stops, and has 16 bit A/D

I notice that the pixel size and sensor width on the medium format 645 sensor equals the HEIGHT of the ultrawide 617 format – perhaps is just 2 1/2 or so of those chips laid out wide….


These sensors will live in one of two bodies – Scarlet (smaller, lesser featured) and Epic (bigger, more robustly featured)

Scarlet will be about 2 3/4 x 2 3/4 by 5 1/4 inches, and Epic will be about 3/4″ wider and 3/4″ deeper as well (both are same height). Target weigths are under 3 and about 4 pounds, respectively. Very good.

Key to the program is that accessories are interchangeable between ALL Epic and Scarlet pieces. There is one little riser piece with an adaptor somewhere Ted was saying, but other than that, interchangeable EVERYTHING. The accessories look much smarter than the original Red One stuff as well – they’ve been listening. GOOD.

Modules can be added to the back or sides or bottom – there’s a side grip and a bottom grip (batteries can go in both), and stacking on the back in Lego block fashion you can add things like bigger batteries, video outputs, and the control surface. Which comes off, for wireless remote control (even of iris/focus/zoom) from up to 100 feet away. Sexy SCHAWEET! Ahem. Pardon. Enthusiasm, etc. You can even have two of ’em on an Epic – assistant and operator.

Even on the front, the lens mount comes off to put on other mounts. Between Scarlet and Epic, you get choices of the new Red Mini Mount, the bigger Red mount, Nikon and Canon still lens mounts (electronic? With all the hookups to drive stuff? Dunno, but want to!), PL mount, Mamiya and medium format mounts, C mounts, and B4 mounts. Obviously, not all at the same time or on the same box, but you get the idea – LOTS of choices with each unit.

The “brains” are SMALL – here’s Ted holding an Epic brain with a WORKING prototype (#2, couldn’t let anybody touch/hold) of one of their new prime lenses:

Improved Redcode

They’ll obviously have to tweak Redcode a little bit to handle the new pixel sizes – adding 3K, 6K, 9K, and 28K to the mix, in a new slew of aspect ratios. I asked Ted what this new naming scheme means for Redcode – he said is different from the current Redcode measurements, which is predicated on 4K 24p datarate per second. With these new numbers being bandied about (especially the 225 and 500 numbers), those are based on max frame rate at max resolution. So if I understand it right, 225 MB/sec for 100 fps would yield 2.25 MB/frame, which would be about 50% more datarate than Redcode 36 (36/24=1.5 MB/frame)…UPDATE – nah, ditch all presumptions – asked, and was told apparently is new & complicated system to figure out but will make sense once we see in the UI on camera. Anyway, it’ll be mo’ betta’ is what they’re saying. I trust’em.


Red will be making their own electronic lenses, in a Red-Mini Mount (for the 2/3″ Scarlets) and larger formats as well. They showed a 15-25mm model on screen, and Ted had the 2nd prototype lens on a mockup he was carrying around as well – details are on the Red website, same link as above, no pricing given, just some sizes for the Red Mini (2/3″) lenses. They’ll have larger Red Mount lenses for the bigger sensored cameras as well. Think of’em as tiny mini-DigiPrimes – fraction of size and cost, but probably a fraction of the quality as well. Hopefully a big fraction of the quality. We’ll have to wait and see.

(On a vaguely related note, I got my 18-85mm lens and am looking forward to testing the snot out of it – everybody says it is sooooo much better than the 18-50 I currently have, and will probably sell soon – wanna buy it?)

UPDATE – oops, I missed the stats on these earlier, here you go:

PL Mount Prime S35 lenses (previously announced):
25, 35, 50, 85, 100mm lenses, all T1.9, and a T2.9 300mm

PL Mount S35 Zooms (previously announced, all shipping, prices on website already)
18-50 (considered “Nawt So Grate, Akshually”)
18-85 (considered Damn Sweet, especially for the money)
50-150 (rumor says “Nice but not Awesome”)

Red Electronic Lenses, FF35 format
15-25 f2.8 AF (autofocus)
25-100mm f2.8 AF stabilized (HEY! They WILL have stablized lenses, sweet!)
70-200mm f2.8 AF stabilized
300mm f2.8 stabilized
1.4x extender AF
2.0x extender AF

645 and 617 format lenses TBA

mini-Red primes, 2/3″ format, Red Mini-Mount
6.5mm T1.9
8mm T1.5
16mm T1.5
25mm T1.8
50mm T2.9
75mm T4

note the VERY low T-stop numbers on the smaller lenses – nice! Lets in lots of light, I’ll chug the DoF numbers some other time using ISee4K on my iPhone…


They showed off a 3D rig that would even work for handheld using Scarlets mounted side by side. They are clearly thinking about this stuff (picture on Red’s site at that link)

Further Tidbitty Details

The chart (linked above) includes all the hard tech stats, here’s some additional info picked up during Q&A or pestering Ted after the session:


-no reflex (through the lens, optical) viewing/viewfinder. Durn.

Scarlet probably won’t have ramping -that’ll be an Epic feature

-Epic will have two 1080p outputs (separate looks/feeds on each? RAW vs 709 vs false color etc.?)

-even higher frame rates than what mentioned here possible – as with Red One, as you window down, frame rates go up on Epic, not necessarily so on Scarlet

-those max frame rates YES are or full res – so yeah, 100fps at 6K…wow.

-5K and 6K likely sweet spot for feature film work

-they like having more resolution, just like in the DSLR world – oversampling can be a GOOD thing. Not concerned that home viewers are limted to 1080i/1080p at best.

Sensitivity – gonna go up from Red One, dunno how much yet

-ALMOST complete compatibility across Epic – there’s a step-up ring to get to the thicker form factor – other than that, pieces to work across both lines

-electronically – the accessories are cross compatible between Epic and Scarlet – some features in Epic obviously won’t work on Scarlet (resolutions, frame rates, etc.)

-storage capacity stays the same, so recording duration goes down as data rate goes up (good question Jim Mathers)

-while CF and Red Drives WILL work with Epic, might not for all frame rate/resolution/Redcode modes if not fast enough

-Red will ride the tech curve – as faster/bigger storage stuff comes out, Red will adopt

-uncompressed stillls? Don’t see that as their future – when see the Redcode results, will quiet them the way the uncompressed outputs and – in the end, the orders were in the single digits for the uncompressed version – if it makes sense, there’s enough demand and biz model, but they are happy with the wavelet as the future – was great in gen 1, will get better in gen 2

-existing Red drives WILL work on future stuff – for 3K Scarlet yes, but under certain configs won’t be fast enough

-PL CAN be put on the FF35 stuff, WILL be able to do anamorphics

-most popular Epic? FF or S35? FF is $35K, isn’t much difference in price, that small price bump is worth it for the coverage and frame size and stuff

-FF35 WILL work with traditional anamorphics – aspect ratio for FF35

-1080p multiple outputs on Epic? – YES!

FF35 is full frame 4×3 sensor

something new called DNRX technology to get better dynamic range (is that for DyNamic Range eXtension or something?)

-existing reel & stuff is at Redcode 28 & 36, the new stuff goes up to Redcode 42 (this hints that Redcode 42 is the nominal datarate, whereas 225/500 are “max” datarates for 100fps etc. – not sure, just a thought)

can have TWO remotes – one for assistant, one for operator (but if don’t have two completely separate processing engines to allow separate monitoring (709 vs RAW vs Redspace vs false color vs focus assist) is of limited usage)

WILL have SSD module for Scarlet

there’s a swiss company that makes a 617 format camera that shoots 1fps for something 2.5x bigger than IMAX

doing up to 25fps on this unit


-no comment on stabilization technology (vital to be competitive in the stills market) at this time. Somebody next to me, who knew more about lens stuff in general, said those lenses were too big to stablize internally….so hmm…

-electronic lenses will allow for REMOTE control of iris/focus/zoom…but with a manual focus mode too (vital!) and I’d imagine gearing for follow focuses as well…

3D RIG – I asked about the interocular distance of that 3D rig, Ted didn’t know off the top of his head

they specifically designed it longer rather than wider – viable for 3D

3K @ 2/3″ they have mini-Red mount lenses, from 6.5 to 75mm – think of them as tiny DigiPrimes (at less cost and probably less quality, but hey, stilll way fun!)


-yep, you’ll get full credit of your $17,500 spent on Red One for an Epic, or a discount on Scarlet stuff

-demand likely high for the new stuff, Red One owners get priority

-a number of ways Red One owners will get benefits, probably will have a wait list for Epics for Red One owners, details TBD

keep watching and for further details and policies

-moving from one sensor to another (like S35 to FF35) for a given Epic body – maybe, no policy on that yet, technical and biz factors to be figured out

OK, and if that isn’t enough, all my raw (haha) notes are on the next page, from which I culled all this, and has more workflow, lens, current projects, and other details I’m getting too tired to type in now. I’ll also try to update this one with the pictures I took today, haven’t downloaded them yet. Is midnight, had little sleep, time to crash, but don’t forget to read the next page for more details and info


Some additional

Red Event: Ted Schilowitz, Red’s “Leader of the Revolution” gave a talk on the Fox lot today, here’s my notes-

showing new stuff, screening new footage,

screening the reel from the 4K reel (we’re watching HDCAM SR 1080p)

LOTS OF NEW STUFF – Che, very little left over from original reel

“for a young company that doesn’t really know what we’re doing, we seem to know what we’re doing”

“I’ll probably get some stuff wrong…the organizational part will come later”

“All specs subject to change, count on it”

“we’re a development company, we like to sell stuff, but at our core we like to build stuff…anything we do at any point in time is subject to change”

Luke from Apple and Michael from Plaster City

originally said they’d never hit the price point and specs – keep your eyes open

shipping for 1 year, all over the world, to 67 countries,

less of a traditional company, more of a ride (more of a roller coaster)

-2 years development to frutition to shipping it in mass

-not afraid of that dynamic, to ride the razor’s edit

-the first year, Ted had renders of what the Red will be

-the first Red “One” was a wooden box with a bunch of boards, had a slice of a sensor

-Guerilla, The Argentine, Game, The Informatnt, Beyond a Reasonable Doubt, Knowing all shot on Red

Soderbergh shot in the jungle with the pre-release cameras

-Game by the Crank guys is in post, a couple of thousand effects shots

-The Informant shot with Matt Damon on Red, The Girlfriend Experience shooting on Red

-BARD stars Michael Douglas is in final DI and testing

-have a filmout we might get to see

-BARD shot on 6 Reds

-Knowing shot in Australia with 7 Reds, Alex Proyas directed, Nicolas Cage – all of these could have shot 35, shot Red instead, even at that budget level

-(Donnie Darko 2)

-small screen – tons of commercials shot on Red



(so dates will slip)

Scarlet, Epic, the DSMC system

DSMC = Digital Stills and Motion Cameras

Scarlet and Epic were announced

Scarlet little sister, Epic big brother

Epic was to be a 5K sensor around $40K, could step up from Red One

went back to drawing board, felt that wasn’t a big enough step forward

a system all based around DSMC system

the brains are about the same size

epic isn’t that much bigger

is just the brains

stills camera that shoots motion, a motion camera that shoots stills

Red One wasn’t a video camera, was a still camera that shoots motion – pushign that to the nth degree – learned about what works – is a RAW progressive frame making machine

-over 2 trillion possible configurations

-3K, 5K, 6K options

-have a range of cameras, all living inside the Scarlet (or Epic) bodies

-the first two use 2/3″ sensors

-the two differences: one is a fixed 8x zoom, the other has interchangable mounts (C, Red minimount, and something else) – 1-120 fps

-the lenseless is $2500, the fixed lens don’t have a price point yet

-fixed lens biased towards the wider

5K camera is 14MP, is S35 sized 1-30fps the FF35 is 1-30fps, 6K will have a 24MP sensor

many of the configs imply configuring as a digital still camera that can shoot video as well

-the fixed lens (image 121) – the back piece comes off and remote it from 100 feet away

-the lens itself can do zoom, focus, and iris electromechanically

-the tactile feel of manual focus is possible too

-122 – in cinema mode with this thing

-123 – the handle itself can mount stuff, put addl 12V batteries

-an IO module slides int ethe middle, (DO THESE SLIDE/LOCK TOGETHER, BOLT TOGETHER, OR WHAT?)

-new electronic super high res viewfinder in 124 – what res? – can use the existing LCDs and stuff on this as well – so 720p

-the left side module is swappable for CF, SSD module, keep being updated and modified

-is a self contained shooting unit, no tethering required

-a lot of the Red accessories connectable

-126 – the lineup, the fixed lens model is a little deeper

-targetting for “a little less than a year”

-the reel was at Redcode 28 or 36, these devices have more advanced Redcode – go Redcode 42-this is on the Scarlet

S35 and the FF35 are 7K and 12K

Red is between 10 and 11 stops Monstro 13 stops

Redmount is their electronic mount

-the only sacrifice for Scarlet is frame rate (limited to 30fps for S35 & FF35)

-5, 6, & 9K

Epic is 5K, 6K, and 9K

S35 is 5K 1-100fps

FF35 Monstro 6K 1-100 fps

9K 1-50fps 645 Monstro

this is really for the high end pro market

note the bricks (brains) get bigger

-132 – has the same controller that works on both sides – can have TWO of them – one for asst, one for operator (Scarlet could live this way too)

-133 – center of gravity is in an interesting place – can grow in and out as neccessary

-134 – two batteries and module

-135 – a Scarlet here, but Epic could be there too

up to Redcode 225 (asked the frame rate thing, the counting way is different from the Red One)

-Epic is now 28K for 5K 1-100fps, can trade in for $10K to get Epic, for FF35, is 6000×4000, $35K

9K is 1-50fps, is medium format (137) – 65MP images at 50fps, can be cinema or stills, shoot billboards – doing sports or fashion to pull a high quality moment in time –

-Chris shoots both – (guy next to me)

-the wheels are off – can go up to ultra ultra hi res

-617 – if 645 was vistavision, 617 is about 2.5x times Imax, 261MP, Redcode 500

-16 bit, 13 stops, digital imax on steroids – AND CAN SHOOT IT HANDHELD

-shoots 25fps at that res

-accessories move forward


-electronic lenses, their own mount for it

-stabilization – can’t answer yet

152 – Red mini mounts – tiny lenses

-my bloody valentine shot 3D with Reds with a mirror rig

-talk to Stuart about the interocular on the 3D rig

-Nike Fincher spot, shot on 6-7 Reds, Rock Paper Scissors,

(shot in part on my Red!)

-10 OR 12 episodic shows around the world shot on Red, expect to see more of it for TV, to find more efficient ways of delivering post on ProResHQ

-Leverage and 26 Miles shot on Red for TV

-Michael Cioni from Plaster City

two different ways to edit (native with reference movies) or with transcoded ProRes files

-Avid pathway as well
-via Scratch for realtime layoff to tape
-via files
-more native support for MXF in the future

-Plaster City is data centric

-make sure everyone has a little taste on all this can be done as quickly as a taep or film based workflow

-For Final Cut Pro, can transcode yourself – both Leverage and 26 Miles transcoded to ProResHQ

-adapting HD for working with Red – DNxHD stuff

-Red & Avid, can telecine if you want via Scratch – datacine in realtime with color correction to tape for traditional workflows

-DNxHD can capture as high res DNxHD 115, output for color correction, nuking assembly and reconform

-can work with one light or best light dailies, is good enough for air

-still have the ability to go to RedRAW to reconform

-FCP/Avid/Premiere – can offline, can possibly do realtime

-transcoding does NOT have to be 30x realtime, can be as fast as realtime

-two workflows with Final Cut – working with native _M files – good for checking things on set or single stream editing, good for limited storage capacity

-working nativel without rendering, these are 1Ks files, aren’t sufficient for broadcast

-transcoding to ProRes lets you work full size (or DNxHD in Avid) – in Labor Pains, was transcoded to DNxHD with a one light color correction to tape, captured in – is GOOD ENOUGH FOR SCREENING AND AIRING

-Pussycat Dolls video shot on Red, the source photography was a challenge

-10-25TB of data comes in a week

-there are a lot of facilities getting good at Red, to transcode into something you’re already working with

-can expand the worlfow you already have into every lab – people think you can’t bridge it into other workflows,


preview of work on stuff currently under development

-159 – using a new plugin for Color, editing the proxies, grade with RAW controls (using native 4K files)

-can output 2K ProRes or DPX (or uncompressed or whatever)


-editing realtime 2K sequence (this is new)

-plugin in color

Log and Transfer into FCP


164 – disk to disk copy, moving native files, no transcoding

2K downrezzed on the fly from the source 4K

-all the Red camera metadata, mapping into the QT header file,

-if working with FCServer, can use that metadata to sort/sift

-can search based on timestamp for afternoon shots

-all the metadata is searchable (this maybe in the new version due soon!)

-all metadata

-is NOT a reference file, is a freestanding QT file, no longer needs to reference the RAW source footage anymore (hooray!)

-in FCServer, simulating a multi-user workflow, can check it out to the desktop, can open it up, have a sequence built from that wrapped R3D material brought in through log and transfer

-working with it as you work with the material, without transcoding

-he’s scrubbing – don’t see any raltime playback!

-this can all happen in parallel – as soon as Log & Transfer has done it, is visible in Final Cut Server or anything – instantly available

-very easy to do

-what is the plugin called – the Red Plugin for Log & Transfer from Red – when available? “Very soon”

-RAW to linear etc. – ask Luke about it offline

-his demo is Final Cut 6.0.5, BTW (I think, went by quickly)

-(transitions show better in this version in Color)

-in the Primary room, there is a Red tab in the Primary room, lets me alter the Red parameters on the RAW in a non-distructive way – manimpulating the 12 bit source –

-can render out to whatever you want as usual from there

-a short by Russel Carpenter (Titanic etc.), is almost done, is about 14 minutes

-going back to see some nature footage

-Mike (??) from Adobe – Adobe CS4 – an update to CS4 (free) will let you look at 4K Red in After Efects and Premiere without any transcoding – 8 bit out of Premiere, 32 bit float etc. out of After Effects, all see the 4K natively, can play 1K natively realtime, is a global setting to downconvert to 1K ro 2K – some Vista workstations are getting 2K playback

-works on PC and Mac

-expect a lot of good stuff



no reflex viewing option for the high end – that is their way
INTEROCULAR ON THE 3D RIG? (didn’t get an answer)
stabilization? can’t answer yet
-Redcode – how are you measuring, or planning to measure? (the stated numbers are for max framerate/max resolution – so Redcode225 is for 100fps work at 5K, for instance)
-ramping in Scarlet? (probably not, but not at all confirmed or official)
-resolution & number of outputs on Epic? (at least 2 1080p)
-uncompressed for stills? (nope)
-further refinements on the PL mount? (forgot to ask)

NO REFLEX VIEWING – resolution and match it to concept of cinematography and photography, different from an SLR, expect folks to use high res viewing devices

-most of the optical finder (new finders will be higher res down the road) conversation went away

-frame rates and resolutions

-the DSLRs like D90 and 5D mark 2 are different

Rodney Charters asks – adding bit depth is a big part of it, the brains are more advanced than the Red One, we’ll see the results of that – most important to us is dynamic range (what they hear from DPs)

-credit for Red One – details online – if going to Epic, get a full credit of $17,500 – IF YOU WANT to keep the Red, you get 12% discount off any Scarlet you want to buy

-demand will be high for the new stuff, Red One owners get priority status

-a number of ways owners will get benefits

-higher frame rates – as you window down, get higher frame rates

-won’t get higher frame rates on Scarlet, on Epic for sure, as go down in res, go higher in frame rate – the 6K and 9K at 100 or 50 fps, can shoot full res at full rate

-5K and 6K will be the sweet spot for large screen work

-for current Red One owners, will probably have a wait list program, but haven’t detailed all that yet – keep watching reduser and

-these new bitrates for codec – tweaked from current – working on new ways to get hgher res and appropriate bandwidth to catch that resolution

-there is NOT a one to one correlation to what they are doing today – is a complicated matrix

-R3Ds file structure – Redcode is the heart of their effort, Redcode as a wavelet based form will be the basis for the future, but how to net that down for post and delivery will be shown later. Don’t think the current R3D is the end game – if they can get more res at the head end, will pay off later. No reason to gate the top end to worry about where the home (user resolution) is

-sensitivity – likely more sensitive than Red One, but aren’t talking about it yet. Bet that everything across the baord

-ALMOST complete compatibility across Epic – there’s a step-up ring to get to the thicker form factor – other than that, pieces to work across both lines

-electronically – the accessories are cross compatible

-moving from body to body and swapping sensors – the answer is probably, but don’t know yet, that hasn’t been discussd yet

-storage capacity stays the same, so recording duration goes down (good question Jim Mathers)

-ride the tech wave as it evolves – so expect bigger/faster over time

-recording options are still yet to be determined

-uncompressed stillls? Don’t see that as their future – when see the Redcode results, will quiet them the way the uncompressed outputs and – in the end, the orders were in the single digits for the uncompressed version – if it makes sense, there’s enough demand and biz model, but they are happy with the wavelet as the future – was great in gen 1, will get better in gen 2

-existing Red drives WILL work on future stuff – for 3K Scarlet yes, but under certain configs won’t be fast enough

-PL CAN be put on the FF35 stuff, WILL be able to do anamorphics

-most popular Epic? FF or S35? FF is $35K, isn’t much difference in price, that small price bump is worth it for the coverage and frame size and stuff

-FF35 WILL work with traditional anamorphics – aspect ratio for FF35

-1080p multiple outputs on Epic? – YES!

FF35 is full frame 4×3 sensor

2nd pass notes –

the difference is the frame rates between scarlet and epic

3K can do midlevel stills with it

5K & 6K use much larger sensors, can do 1-30fps for motion picture stuff, are ultra high res cameras

close to 14MP for 5K, 24MP for 6K


more dynamic range than Red One, using DNRX technology

-existing reel & stuff is at Redcode 28 & 36, the new stuff goes up to Redcode 42

-with 13 stops – getting into the ballpark with Red One, Monstro is getting close to film’s dynamic range

-can have TWO remotes – one for assistant and one for operator

-handheld with bigger LCD

-will have newer CF modules, will have SSD modules, etc.

YES can put PL mount on the 6K FF35

there’s a swiss company that makes a 617 format camera that shoots 1fps for something 2.5x bigger than IMAX

doing up to 25fps on this unit

is 261MP camera

digital still camera that shoots movies

3K @ 2/3″ they have mini-Red mount lenses, from 6.5 to 75mm

they specifically designed it longer rather than wider – viable for 3D


Mike Curtis

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