In Broadcast - July/August 2011 - 67


67

S+O Media Go Hands On Epic-M
By Ben Spence, DoP
Finally the Red Epic has started to appear in facilities companies around the world, S+O Media is one of the first in the UK to receive a handmade Epic-M. I’ve been lucky enough to take the camera out on a couple of shoots and I have to say I’m pretty impressed. Red’s previous camera, The Red One, while a game changer, wasn’t a perfect camera. It’s been a four year wait for their second camera; The Epic and I must say it does have some great features which I’ve gone into more detail about on S+O’s website. Its 5K RAW capabilities stand out, giving it an incredibly sharp and clean picture which combined with its small size, has made the camera the number one choice for 3D feature film production around the world - with films such as The Hobbit and the Ridley Scott Alien prequel. If that wasn’t enough, its impressive frame rates and high speed shooting capabilities, while not quite bullet-through-an-apple speed, are far beyond what all but the most specialist cameras are capable of currently, putting it up there with the best. Overall the Epic is an exciting camera and a leap forward for Red. It’s not simple but the complexity comes from its flexibility and power rather than poor design. However, as good as the camera is, it’s still unfinished and there are a few hurdles to overcome. The workflow is the same as the original Red One, although the camera-generated proxies and in-camera playback have not yet been implemented. I’d highly recommend grabbing a Nanoflash or a similar HDSDI recording device, when hiring the Epic and using that for playback. Red rocket cards do speed up the post production process but do not work in real time as they do with The Red Ones 4K footage. The proxy and playback issues will be fixed in future camera builds; so although awkward now, it’s important to remember that the camera is still in a Beta stage.

commencing any production with the Epic. However, lenses will appear wider on the Epic, so your 21mm lens will give you the field of view of what you would normally expect from an 18mm. However, it goes without saying that the Epic can produce beautiful images and even in its unfinished state it can do some unique things. I wonder what Red will be able to squeeze out of it in the next update! About Ben Spence Benedict Spence has been working as a lighting cameraman for nine years and a director of photography for the past three. His experience covers a range of factual and entertainment series including the BBC’s John Bishop’s Britain and E4’s The Only way is Essex. In that time he’s also notched up some promotional and commercial work for high flying brands including Beth Ditto and Armani. Having tried and tested any camera worth knowing about over the past nine years, Ben is dishing the dirt on his experiences with Red’s new Epic–M, on behalf of broadcast and crewing facilities company S+O Media. As one of the first hire companies to get their mitts on what’s rumoured to be the camera of all cameras, S+O know what they’re talking about when it comes to shooting and the technology involved, so here’s for some hard-hitting home truths!

Red Epic-M “an exciting camera and a leap forward for Red,” Ben Spence, DoP

From a DoP’s perspective, one of the more powerful tools on the Epic yet to be enabled is setting a look within Redcine and exporting that to the camera. The Red One never quite delivered in this respect, but it’s been promised the Epic will. Beware that the slightly-largerthan-super35 sensor on the Epic can lead to lens coverage issues. Many cine lenses are designed to project an image 24.8mm wide (Super35) whereas the Epic’s sensor is 27.7mm wide so I would suggest a prep day with your favourite lenses before


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Table of Contents for the Digital Edition of In Broadcast - July/August 2011

In Broadcast - July/August 2011
Contents
Whats New in Our Global Village
iPad The Game Changer
Outside Broadcasters Feel the Pinch
Innovative Camera Supports - Beyond the Tripod
IP-Based Remote Television Studio Control
Trilogy's Gemini - Pioneering the Use of IP in Broadcast Intercom
The Ears Have It: The Drive for Better Sounding Mobile Content
IBC Sneak Peak
Monitoring Systems For Today's Digital, Multiplatform Era
New Developments in Broadcast Test and Measurement
In Broadcast - July/August 2011 - Intro
In Broadcast - July/August 2011 - In Broadcast - July/August 2011
In Broadcast - July/August 2011 - Cover2
In Broadcast - July/August 2011 - Contents
In Broadcast - July/August 2011 - Whats New in Our Global Village
In Broadcast - July/August 2011 - 5
In Broadcast - July/August 2011 - 6
In Broadcast - July/August 2011 - 7
In Broadcast - July/August 2011 - 8
In Broadcast - July/August 2011 - 9
In Broadcast - July/August 2011 - 10
In Broadcast - July/August 2011 - 11
In Broadcast - July/August 2011 - 12
In Broadcast - July/August 2011 - 13
In Broadcast - July/August 2011 - 14
In Broadcast - July/August 2011 - 15
In Broadcast - July/August 2011 - 16
In Broadcast - July/August 2011 - 17
In Broadcast - July/August 2011 - iPad The Game Changer
In Broadcast - July/August 2011 - 19
In Broadcast - July/August 2011 - 20
In Broadcast - July/August 2011 - 21
In Broadcast - July/August 2011 - Outside Broadcasters Feel the Pinch
In Broadcast - July/August 2011 - 23
In Broadcast - July/August 2011 - 24
In Broadcast - July/August 2011 - 25
In Broadcast - July/August 2011 - 26
In Broadcast - July/August 2011 - 27
In Broadcast - July/August 2011 - 28
In Broadcast - July/August 2011 - 29
In Broadcast - July/August 2011 - 30
In Broadcast - July/August 2011 - 31
In Broadcast - July/August 2011 - Innovative Camera Supports - Beyond the Tripod
In Broadcast - July/August 2011 - 33
In Broadcast - July/August 2011 - 34
In Broadcast - July/August 2011 - 35
In Broadcast - July/August 2011 - 36
In Broadcast - July/August 2011 - 37
In Broadcast - July/August 2011 - IP-Based Remote Television Studio Control
In Broadcast - July/August 2011 - 39
In Broadcast - July/August 2011 - Trilogy's Gemini - Pioneering the Use of IP in Broadcast Intercom
In Broadcast - July/August 2011 - 41
In Broadcast - July/August 2011 - 42
In Broadcast - July/August 2011 - 43
In Broadcast - July/August 2011 - The Ears Have It: The Drive for Better Sounding Mobile Content
In Broadcast - July/August 2011 - 45
In Broadcast - July/August 2011 - IBC Sneak Peak
In Broadcast - July/August 2011 - 47
In Broadcast - July/August 2011 - 48
In Broadcast - July/August 2011 - 49
In Broadcast - July/August 2011 - 50
In Broadcast - July/August 2011 - 51
In Broadcast - July/August 2011 - 52
In Broadcast - July/August 2011 - 53
In Broadcast - July/August 2011 - 54
In Broadcast - July/August 2011 - 55
In Broadcast - July/August 2011 - Monitoring Systems For Today's Digital, Multiplatform Era
In Broadcast - July/August 2011 - 57
In Broadcast - July/August 2011 - 58
In Broadcast - July/August 2011 - 59
In Broadcast - July/August 2011 - New Developments in Broadcast Test and Measurement
In Broadcast - July/August 2011 - 61
In Broadcast - July/August 2011 - 62
In Broadcast - July/August 2011 - 63
In Broadcast - July/August 2011 - 64
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In Broadcast - July/August 2011 - Cover4
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