“It’s hard not to face the reality of what EPIC brings to the table. It’s ability to render a noise free image at 800 ISO with the lattitude to back it up. HDRX is really what seperates it from film. The abilty to take a second exposure real time to maintain detail in highlights 6 stops over is something i believe will make a lot of cinematographer thrilled.

As I take it through the paces I am finding it possible to render a very tactile filmic look. On this picture I am using Panavision C Series Aanamorphics and going for extreme flares and halation in areas of the frame. The more I deconstruct it the better it’s looking.

Game on.”

Paul Cameron, ASC

“We could not be more pleased to be able to continue with UNDERWORLD 4 a relationship we began with RED more than 3 years ago when we purchased two RED Ones (serial numbers “N” and “T”) to shoot a picture called GAMER.

In the years since, we’ve used those two cameras on pretty much every show we’ve produced – we are just finishing-up the DI on LINCOLN LAWYER and it looks spectacular.

With the EPIC, RED has clearly elevated their game into the stratosphere – all the tapeless workflow efficiencies are still present but the image quality is now every bit as staggering as the rumors we’ve all heard. And being an S3D show, that we can put two EPICs on an Atom rig and hand-hold a shot, frees us to both practically and creatively shoot the picture exactly as we want.

I Know it’s been said before but, plain-and-simple, for both film-makers and ultimately the audience, the Epic is a game-changer.”

James McQuaide – Executive Producer

In my opinion, the new Red Epic camera is about to revolutionize all spectrums of the film industry.

I am going to use Epics in my new project directed by Ridley Scott. I am amazed with the quality of the image and the fact that you can shoot 5k at 120fps without compromising resolution, and most of all the size of the camera.

Combined with the Element Technica Atom 3d rig, we will be able to shoot a 3d movie with the flexibility of a conventional cinema camera.

I don’t see anything that comes close to it at the moment. I can’t even imagine the potential Epic will have on the big blockbuster industry as well as independent cinema.

The DEEP RED housing incorporates features reflecting decades of award-winning expertise: adaptable lens support, smooth zoom, comprehensive control access, compact aluminum shell, adjustable buoyancy/trim and Gates Precision Ports™ for no compromises in image quality.

The housing has several key features:
-Lens flexibility. DEEP RED can accommodate a variety of different cinema and SLR lenses with no change to control locations. Focus, Iris, Zoom and Rec/Stdby remain in the same location regardless of optics used.
-Full control access. All controls are accessible on DEEP RED, including the rear menu joystick control.
-Cinema-grade design. Lens choice and control access are just two of the many features designed into DEEP RED. A/R coated glass optics, tally light and HD-SDI surface feed are also intergrated.

The all aluminium housing is rated to 145 meters and the standard package includes an external housed RED LCD monitor, anti reflex coated glass dome port, acrylic flat port, 50m HD-SDI surface feed and extensions to accommodate the following lens options:

Arri 8R
Arri 10mm Ultra Prime
Arri 12mm Ultra Prime
Arri 16mm Ultra Prime
Arri 14mm Master Prime
Nikon mount 10.5mm 2.8 Fisheye – ex-Oceansense
Nikon mount 11-16mm 2.8 – ex-Oceansense
Nikon mount 17-50mm 2.8 – ex-Oceansense

Extensions to accommodate the Angenieux Optimo 15-40 T2.2 can be arranged with early notice and carries additional rental cost – POR.

We have an Ocean Reef surface/underwater communications system to allow 2-way director/operator communications at R990 per day.

The standard housing rental is R6000.00 per day excl VAT.

Please note that the underwater housing can only be rented out with Russell Campbell as the underwater operator. Russell has well over 3500 filming dives in many different locations around the world. He has been awarded the acclaimed Golden Panda award for his filming of mating Green Turtles for the “Armoured Giants” episode in David Attenborough’s “Life in Cold Blood”. He also was the Director of Photography for the Frolic Pet Food commercial which received a Bronze Lion award at the 2010 Cannes Festival. Russell has also filmed for various other projects such as Dorling Kindersley’s “Go Surf” and “Reef”, the Mozambique Tourism Board, Four Seasons Resorts and has his footage used on Survivor “Maldives”.

If you would like any further information with regards to the underwater housing, please contact Russell or Cindy at +2773 715 9718.

RED redefines what a true hybrid camera means. Start, by shooting 5K digital cinema, which provides a mind-bending image 6 times the resolution of high definition video. Every frame of motion is a 14 MP still, from 1 to 120 frames per second. RAW, unprocessed perfection. EPIC offers a two menu setup, prioritized for still or motion, or you can extract still from motion at any time, by placing a metadata tag with the push of a button. Shoot a 2 second burst and pick the image you want from the 240 captured, or let the camera’s software do the work. Choose a RED Electronic Lens Mount or a Canon EF or Nikon AF-S Mount and enjoy the flexibility of automatic or manual focus and exposure control. Travel light with Brain, lens, grip and monitor or configure for shoulder with extended battery power and I/O options. Photography will never be the same, as RED creates a revolution ……. again.

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