Eric Kessler let Philip Bloom take his new RED EPIC for a spin and also volunteered to be a test subject while members of the Kessler Crane crew threw glasses of water at him. The result a rather entertaining slow motion mashup of Kessler’s abuse.
Over at A Photo Editor, there’s an interesting interview with Vincent Laforet concerning the future of photography. In it he discusses where these photo and video cameras are heading, including how new technology will affect the vision required to capture “the decisive moment.”
Here’s what’s important, if you can shoot 120 frames or 96 frames per second at a high resolution, it removes one of the single most difficult aspects of being a photographer, which is to capture the “decisive moment.”
RED had a big tent/booth on the NAB showfloor. While the company had no major announcements at the show, it was still there pimping its EPIC and Scarlet cameras in style. The RED folks had a full-on tattoo parlor set up in the middle of the show floor (with people getting real tattoos) and used this scene to show off the low light and shallow DOF capabilities of its cameras.
The above sample clip demonstrates the HDRx voodoo that RED is working in its new EPIC camera. The shot from dimly lit tunnel to a sunny afternoon maintains the aperture and other exposure settings during the transition. No one is pulling aperture via a remote during the transition.
Using the new HDRx feature in the EPIC, the camera makes the previously-impossible now possible. The HDRx functionality works by recording two exposures and blending them together, which allows the camera to hold the highlight details in the clouds after emerging from the tunnel in the above video. The exposures are captured simultaneously, with the underexposed frame recorded at a fraction of the shutter speed of the “normal” frame. Not even film has this kind of latitude.