The name is not an overstatement.

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 120 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. Purpose-built for perfect multi-camera synchronization, EPIC comes to market at a time when 3D capture requires the sophistication of a new generation of innovative technology. EPIC, very simply, is epic.
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Insane Specs

MYSTERIUM-X® AT THE HEART OF THE BRAIN®

  • MASSIVE 30mm X 15mm SENSOR (5120 x 2700 PIXELS)
  • 5K RESOLUTION FROM 1 TO 120FPS (UP TO 300FPS @ 2K)
  • REDCODE® ALLOWS 1080P TO 5K RECORDING ON REDMAG (SSD)
  • OVER 13 STOPS NATIVE DYNAMIC RANGE, 18 STOPS W/ HDRx™

Easy As

  1. 1
    EASY TO SHOOT

    SET YOUR PROJECT. FULL MANUAL CONTROL, OR GO AUTOMATIC!

  2. 2
    EASY TO POST

    NATIVE R3D SUPPORT FROM EVERYONE THAT MATTERS. RED IS THE STANDARD.

    Final Cut Pro, Avid DS, Adobe Premiere and AfterEffects, Sony Vegas, Assimilate Scratch, Filmlight Baselight, Quantel Pablo, Da Vinci, Nuke, REDCINE-X, ROCKETCINE-X, DVS Clipster, Nucoda, Mystika, Storm

  3. 3
    EASY TO DELIVER

    EXPORT TO ANY AND EVERY FORMAT, INCLUDING REDRAY™4K.

Modular Times Forever

INTERCHANGEABLE EVERYTHING

We’re still counting the possible combinations. We gave up after a million. The RED DSMC™ program that EPIC stands as the flagship for is designed to offer limitless possibilities. Choose your recording format; SSD, single slot, multiple slot, side mount, rear mount, legacy RED DRIVES®, it’s your choice. Need more connectors than the body provides? Dual HD-SDI OUT, GENLOCK, AUX power / GPIO, Timecode and Mini XLRs on the Basic I/O Module. Or go PRO I/O and get full-sized XLR and DIGITAL AUDIO IN. Need lots of running time? You’ve got the choice of two Rear Battery Modules or legacy RED BRICK® solutions. Want to go small and light? Slap on the RED Handle Grip, which powers and controls your EPIC. Monitors? High Resolution Touch Screen LCDs or Ultra Compact, Hi-Res BOMB-EVF™. Lens choices? Virtually limitless, by choosing a PL Mount, RED Electronic Mount, even Canon or Nikon Smart Mounts, which will provide full automatic exposure and focusing capabilities. And as each technology advances, you have the ability to upgrade components, not entire cameras. It’s genius, really.

OBSOLESCENCE OBSOLETE

RED’S COMMITMENT

Possess the vision of where technology is headed and embrace the passion necessary to meet it headlong. Design product that aims for that future, using state of the art resources that exist today. Push the envelope and educate those with less vision, as you pioneer the very future that you imagined. Build the technology with a modular architecture, so that with each advance the whole remains, as the parts evolve. When new media is developed, a new module will appear. When sensor technology leaps forward another generation, a new Brain takes its rightful place at the heart of your camera. Open architecture, infinitely adaptable. This is RED. This is “Obsolescence Obsolete”.

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EPIC

Camera ViewsCamera Views
SENSOR 14 MEGAPIXEL MYSTERIUM-X™
PIXEL ARRAY 5120 (h) x 2700 (v)
S/N RATIO 66db
DYNAMIC RANGE 13.5 stops, up to 18 stops with HDRx™
MAX IMAGE AREA 5120 (h) x 2700 (v)
LENS COVERAGE 27.7mm (h) x 14.6mm (v) x 31.4 mm (d)
DEPTH OF FIELD Equivalent to S35mm (Motion) / APS-H (Still) lenses
Equivalent to 16mm (Motion) lens in 2K RAW
ACQUISITION FORMATS 5K RAW (Full Frame, 2:1, 2.4:1 and Anamorphic 2:1)
4.5K RAW (2.4:1)
4K RAW (16:9, HD, 2:1 and Anamorphic 2:1)
3K RAW (16:9, 2:1 and Anamorphic 2:1)
2K RAW (16:9, 2:1 and Anamorphic 2:1)
1080p RGB (16:9)
720p RGB (16:9)
PROJECT FRAME RATES 23.98, 24, 25, 29.97, 47.96, 48, 50, 59.94 fps, all resolutions
DELIVERY FORMATS* 4K : DPX, TIFF, OpenEXR (RED RAY via optional encoder)
2K : DPX, TIFF, OpenEXR (RED RAY via optional encoder)
1080p RGB or 4:2:2, 720p 4:2:2 : Quicktime, JPEG
Avid AAF, MXF. 1080p 4.2.0, 720p 4:2:0 : H.264, .MP4
PROGRAM OUTPUT HD-SDI Clean Feed
2K RGB, 1080p RGB or 4:2:2, 720p 4:2:2
SMPTE Timecode, HANC Metadata, 24-bit 48Khz Audio
MONITOR OUTPUT HD-SDI and HDMI with Frame Guides and Look Around
2K RGB, 1080p RGB or 4:2:2, 720p RGB or 4:2:2
SMPTE Timecode, HANC Metadata, 24-bit 48Khz Audio
DIGITAL MEDIA REDMAG (SSD) Module : (64, 128, 256GB Media)
REDCODE™ 12 and 16-bit RAW : Compression choices of 18:1 to 3:1
1-120 fps 5K, 4.5K
1-150 fps 4K
1-200 fps 3K
1-300 fps 2K
AUDIO 2 channel, uncompressed, 24 bit, 48KHz.
Optional 4 channel, and AES / EBU digital audio.
MONITORING OPTIONS RED LCD 5″ Touchscreen Display
BOMB EVF™ High Definition Viewfinder
REMOTE CONTROL Wireless, Ethernet, RS232, GPI Trigger
WEIGHT 5lbs. Body only
CONSTRUCTION Aluminum Alloy
TEMPERATURE RANGES Operating Range: 0˚C to +40˚C (32˚F to 104˚F)
Storage Range: -20˚C to +50˚C (-4˚F to 122˚F)
* FROM REDCINE-X

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The camera that started a revolution in digital cinema

The camera that started a revolution in digital cinema. From its humble beginnings, rising from a smoke cloud of intrigue, labeled a scam and claimed to be impossible technology, the RED ONE has materialized as one of the most significant American inventions of the 21st Century. With over 5 times the resolution of an HD video camera, the RED ONE has earned its rightful place as the successor to 35mm film acquisition. The RED ONE has been responsible for creating thousands of films, from independent to Hollywood blockbuster, as well as a growing impact on the capture of episodic television.  In the short span of three years, RED has come to dominate the music video and television commercial landscape, as well. Wherever 35mm film once tread, the RED ONE has emerged, bringing with it the advantages of lower cost, lighter weight, same hour dailies, brilliant workflow and grainless, organic images