Get the Latest BuZZ Each Week

RED Digital Cinema updates Epic-X and Scarlet news

In a series
of posts at
Red Leader Jim Jannard updated the faithful
on the latest news on the Epic-X and Scarlet DSMC (Digital Still and Motion Camera) systems and delivery


The latest Epix-X specifications feature the previously announced
MYSTERIUM-X 5K sensor with a variety of image sizes and frame rates:

  • 5K (2:1) at 1-100fps
  • 4K (2:1) at 1-125fps
  • Quad HD at 1-120fps
  • 3K (2:1) at 1-160fps
  • 2K (2:1) at 1-250fps
  • 1080P (scaled from full frame) at 1-60fps

The Epix-X features increased Dynamic Range, reduced noise,Time Lapse,
Frame Ramping, REDCODE 250, ISO 200-8000 and a new FLUT Color Science,
a built-in GPS receiver and enhanced metadata.


The Scarlet 2/3″ series has been updated in response to the recent
video-capable DSLR releases with new features and a “mildly impact the
pricing” (although the change was not specified). Some of the new
Scarlet 2/3″ capabilities include:

  • Increased REDCODE data rates
  • New FLUT Color, Gamma and Sensitivity Science. Now same as EPIC.
  • More extensive modular system integration.
  • Interchangeable Lens mounts including focus and iris control of
    electronic RED, Canon and Nikon lenses, along with Zoom data (Scarlet
    2/3″ Interchangeable)
  • “Touch Focus Tracking” with electronic lens mounts and RED
    touchscreen LCD’s (Scarlet 2/3″ Interchangeable and 8x Fixed)
  • Two independent microphone level channels, balanced input
    circuits, 48V Phantom Power, digitized at 24-bit 48KHz.
  • GigaBit Ethernet port
  • Scaled 1080P at 60fps

Additional details on the Scarlet program will be “ready by the end of
this month”, although whether that will be tomorrow (the end of
October) or the end of November.

Delivery Schedule

Signalling another major shift in direction the Epic-X will be the
first of the new cameras released and this time it will have a more
conventional closed beta program (instead of all users being beta
testers as was the case with RED ONE) with a special edition (Tattoo)
of the camera and lifetime preferential treatment for the beta testers.
Epic-X will roll out in four phases:

  1. Beta program with “working prototypes” for hard-core RED users
    with who plan on keeping their RED ONE. Buy an Epic-X system (with
    basic accessories) for $28,000 and put up with rapidly developing
    software. Stage one starts this year;
  2. Buy a production model Epic-X when beta testing is done and the
    camera is ready, for $28,000 (with basic accessories) and keep the RED
    ONE. Expected to be available “early 2010” but Jim Jannard was careful
    to point out that it will be “when the beta testers think the camera is
  3. Trade in your RED ONE on an Epic-X basic kit (as for stages one
    and two) and get a full credit of $17.500 off the $28,000 Epic price;
  4. Buy an Epic “brain” alone (no accessories) for $28,000.

There are no definite dates in this delivery schedule as each camera
and accessory will be available “when they’re ready”.

In the series of posts, Jannard also explains why the cameras are
behind schedule (product changes, suppliers going out of business,
and that they now know more than they did a year ago) and other updates
associates with accessories and software. Details, including images are
available in
the announcement thread

Report by Philip Hodgetts

Cinema 4D 11.5: MoDynamics

The Pusher

Diana's Top 10 Final Cut Pro 7 Features: #9 – The Timecode Viewer

Multiclip Editing in Final Cut Pro: Part 2

Maxon Cinema 4D: Cinema 4D 11.5: MoDynamics

Chapter: 3D Modelling and Animation

Topic: Animation and Inverse Kinematics

In this video tutorial, Creative COW leader Chris Martin takes a look at MoDynamics in Cinema 4D 11.5.


Adobe After Effects: The Pusher

Chapter: Visual and Creative Effects

Topic: Liquids and Flows

In this video tutorial, Creative Cow contributing editor Eran Stern creates a watery liquid push effect and color corrects the shot using the bundled Color Finesse plug-in.


Apple Final Cut Pro: Diana's Top 10 Final Cut Pro 7 Features: #9 – The Timecode Viewer

Chapter: Editing

Topic: Tips and Techniques

Something new has been added in FCP 7. It’s the Timecode Viewer, a floating time code window, which will really come in handy as you share your screen or sequence with others. And taking notes by jotting down time code as you view your footage has never been easier.


Apple Final Cut Pro: Multiclip Editing in Final Cut Pro: Part 2

Chapter: Editing

Topic: Multicam

Recently we talked about creating multiclips in Final Cut Pro. Today, we’ll take it one step further, and talk about how to actually edit that multiclip we created. Assuming you already have your multiclip ready in the Browser, double-click on it to open it up in the Viewer. The active angle is highlighted in a blue/green box. Now click on the View pull-down menu and click on Show Multiclip Overlays. This is so you can see each clips’ angle number, name, and timecode.


BuZZ Show and Podcast October 29

This week’s episode of the world’s only interactive talk radio for Digital Production, Post Production and Distribution is filled with great information and entertainment designed for the independent filmmaker, producer or editor

This week, join host Larry Jordan, and co-host Mike Horton, as they talk with:

Annette Martin, CEO, Closure 4 U, is a psychic-detective. But the reason we are talking with her this week is not to track down some long-lost relative, but to pick her brains on how she has successfully used the internet to promote her radio shows and business. Marketing today is a real challenge, yet Annette has found a key that we can all use.

Philip Hodgetts, CEO, Intelligent Assistance, has spoken before about how the traditional advertising model for media is broken. This week, he returns to look at the future of advertising – if people are using TiVo to skip commercials and banner ads don’t work on the web, what do we use to find new customers?

Isidore Mankofsky, ASC, RM Films, has over 100 films to his credit as cinematographer. We chatted with him recently at DV Expo about the role of a cinematographer during production and his thoughts on the craft.

Mark Fuccio, Senior Director of Products and Markets, Data Robotics, Inc. joins us to talk about their latest product: DroboPro. The Drobo family of products provides a feature not found on other systems: storage expandability combined with data protection. We talk with him about their products, the future of storage, and the differences between storage and archiving.

You can’t find people or interviews like this anywhere else! It’s another fascinating show – all the information you need now to know what’s coming next!

Creative Planet’s Digital Production BuZZ is live 6-7 pm Pacific Time. Join the Show Live, listen to,or download an episode from the archives or subscribe to the podcast through iTunes or off the website