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Mysterium X

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RED EPIC™ 5K large sensor digital film camera.

The best RED yet with amazing 400fps slow motion capability and 5K images with the streamlined RED workflow.

A streamlined package specifically designed to maximise shooting options with upgraded accessories from Element Technica and Anton Bauer.  A 35mm PL lens mount allows you to take advantage of beautiful film lenses - choose from Cooke S4, Cooke Panchros, Zeiss Compact Prime, UltraPrime or SuperSpeed lenses.  The original EPIC was called EPIC-M, as it used the Mysterium Sensor shared with the RED MX and now upgraded to the X sensor.

Amazing 400fps Slow motion

Shoot up to 120fps in 5K or up to 400fps in 1K - note that by shooting in 1K mode, you will have a crop factor of around 50%, so a 24mm lens will act like a 50mm lens for example.  The example below shows a 300fps 2K shot of a hotshoe mount being dropped into a glass of water. If you are careful, you can see a perfect still of the hotshoe mount.

Up to 18 stops of Latitude with HDRx

The original EPIC was called EPIC-M, as it used the Mysterium Sensor shared with the RED MX and now upgraded to the Mysterium X sensor.  This is a 14 Megapixel chip (5120x2700 pixels) with 13.5 stops of latitude and up to 18stops with the HDRx mode whereby the camera effectively takes a dual exposure and you have the ability to decide how best to take the best information from the fast and the slow exposure at either end of the latitude spectrum.


I stated above that the RED workflow is very well established but the truth is that sometimes, the quality of the RED codec is too good for small screen productions and it can sometimes be easier to bypass the on-board record function using RED codec and RED post production route if you are shooting for TV or even the internet!

If this applies to you, then do consider that the Ki pro mini external recorder and Soundevices pix 240 shoots onto Compact Flash cards and will record a high end HD at very high qualities.  As with the RED, the quality recorded is adjustable and you can set the external recorders to shoot from 50Mb/s up to 220Mb/second in 10 bit 4:2:2!.

In English, this means that you can record up to 400fps and immediately play back the material from the camera and record onto an external recorder with no rendering; then insert this media into Final Cut Pro for immediate use with no rendering - very easy!  The 'usable proxy' setting allows the camera output to be recorded and include such metadata information such as the clip name and timecode for later online conversion and de-bayerning if you want to.

It is important to mention that if you use the above approach for high speed, then since the Ki Pro does not support high speed, then the high speed material would be laid off as a regular 24 or 25fps slowed down recording and that you will lose the metadata from the RED camera, so this will only be useful if the proxy file is the final version used in post.  The advantage though is that it greatly simpifies post production for you.

VMI Epic Camera Systems

  • EPIC-X Brain with titanium PL mount
  • Bomb EVF® with cable
  • Bomb Noga support arm
  • 5in Touchscreen LCD  with cable
  • DSMC Side Handle
  • DSMC Side SSD Module
  • Side handle plate
  • REDmote
  • Mains power with iec
  • AB battery bracket with speedy clamp with built in cable
  • 4pin Canon to mains cable
  • 4pin lemo to 3 x bnc sync cable
  • DSMC Tactical top
  • Action Products bottom plate with 2 x mini jack to XLR cables
  • Top Bracket with 3 inch short bar for Anton Bauer bracket
  • Small bracket with 2 x screws
  • Spare speedy clamp
  • Arri BP8 Plate with sliding plate
  • 4x 128GB SSD cards
  • 2x REDVolt batteries and travel charger
  • Redmag 1.8” redstation with mains adapter
  • Firewire 800 cable
  • Mini USB to USB Cable
  • USB to power cable
  • 2 x Anton Bauer TM-4 4 way charger
  • 8 x Anton Bauer Dionic HC batteries

Suitable rigs available for hire are the Mantis shoulder kit which works very well if used for long periods with the Easyrig Cinema 3.

DIT Operator and Mac - loaded with Final Cut Pro, Red cine, Red_alert and also Red cine-x available if you book a VMI DIT.

RED Courses

RED Epic and Scarlet Camera Familiarisation and Basic Data Handling Course


RED Courses

RED Epic and Scarlet Camera Familiarisation and Basic Data Handling Course

Everything you wanted to know about 4K but were too afraid to ask...


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
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)

12 and 16-bit RAW : Compression choices of 18:1 to 3:1
1-96 fps 5K, 4.5K
1-120 fps 4K
1-160 fps 3K
1-240 fps 2K

1-300fps 2kws                                                                                                 



1-360fps 1k

1-400fps 1kws





AUDIO 2 channel, uncompressed, 24 bit, 48KHz.
Optional 4 channel, and AES / EBU digital audio.
BOMB EVF™ High Definition Viewfinder
REMOTE CONTROL Wireless, Ethernet, RS232, GPI Trigger
WEIGHT 5lbs. Body only
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)

VMI are proud sponsors of:

The British Society of Cinematographers The Guild of Television Cameramen The Guild of British Camera Technicians The Association of Camera Operators ASPEC - Association of Studio and Production Equipment Companies Cinematography Mailing List Xhire - Anri fraud network