Yep we took the plunge! I have a RED Epic on order and will be trading in our RED ONE. We will be taking delivery by the end of December. It was a big decision. This was not buying a DSLR. This was a great deal of money. $58k for the package.

The name is not an overstatement. The much anticipated addition to the RED family is the answer to the professional’s wildest dreams and exists as the most sophisticated and capable camera ever engineered and built. In a package one third the size of a RED ONE, resides a 5K Mysterium-X™ sensor and a 27 layer ASIC, the most advanced processor of its type in the world, enabling EPIC to capture up to 300 frames per second, each frame at full 14MP resolution. EPIC is engineered to be a DSMC™ (Digital Still & Motion Camera), a camera that excels in both worlds … by design. Providing native dynamic range of over 13 stops and resolution that exceeds 35 mm motion picture film, this is the camera of the epoch. Add to that RED’s newly developed HDRx™ extended dynamic range technology and EPIC boasts an amazing dynamic range of up to 18 stops.

The product of years of research and development by the world’s leading engineers, EPIC represents the state-of-the-art in digital acquisition and positions RED as one of the world leaders in sensor design. Built upon the enormous success of the company’s first camera, the RED ONE, EPIC represents the culmination of an effort to produce the world’s best camera, as at home in the still photographer’s world as it is in the motion picture world. Based on the concept of DSMC (Digital Still & Motion Camera) EPIC provides a camera with a 14MP sensor capable of shooting from one frame to 120 frames per second. Blurred forever is the line dividing still and motion.
Peter Jackson’s two film adaptation of The Hobbit will be shot in 3D using RED DIGITAL CINEMA’S EPIC Digital Cameras.

The Hobbit will be amongst the first productions in the world to use the EPIC and 48 cameras will be required by the 3-D production. The EPIC’S small size and relatively low weight, makes it perfect for 3-D – where two cameras have to be mounted on each 3D rig.

Jackson has a long history with RED, dating back to when he directed the short film ‘Crossing the Line’ as a very early test of prototype RED ONE cameras. “I have always liked the look of RED footage.” he says, “I’m not a scientist or mathematician, but the image RED produces has a much more filmic feel than most of the other digital formats. I find the picture quality appealing and attractive, and with the EPIC, Jim and his team have gone even further. It is a fantastic tool, the EPIC not only has cutting edge technology, incredible resolution and visual quality, but it is also a very practical tool for film makers. Many competing digital systems require the cameras to be tethered to large cumbersome VTR machines. The EPIC gives us back the ability to be totally cable free, even when working in stereo.”