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Camera kits

RED EPIC-W PLUS 8K Helium Camera/OMOD Command RT Package

EPIC-W PLUS integrated 8K Helium Camera with Omod Command RT option

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RED EPIC-W PLUS large sensor digital film camera

Latest RED EPIC-W PLUS Helium 8K large sensor digital film camera complete with OFFHOLLYWOOD Command RT integrated module for additional functionality.

  • 8K Aquisition: 35 million pixel count of Helium 8K sensor with advanced colour science allows 25/30p capture at 8K and below, allowing reframing in post production without 4k image compromise.
  • Multiple Codec Capture: Shoot in RED R-3D REDCODE RAW or 4K Apple Prores 4444 or AVID DNxHR/HD formats at up to 275MB/second onto new RED Minimag 512GB SSDs.
  • New Module Construction: DSMC2 modular format allows the camera to be fully accessorised or totally stripped back - how far you go is your choice.
  • Excellent Slow Motion Capability: 300fps slow motion capability and 6K images with the streamlined RED workflow. Upto 100p in 6K, 150p in 4K 200p in 3K or 300p in 2K - your choice.
  • Up to 16.5 stops of dynamic range - New Helium Sensor
  • Superb detail in the blacks

RED PLUS functionality with OFFHOLLYWOOD COMMAND RT at no extra charge

The introduction of the OFFHOLLYWOOD OMOD Command module takes integration to a whole new level with RTMotion WLCS, and other soon-to-be announced Lens Control systems all effectively built into the latest RED cameras.

The RED EPIC-W/Weapon camera docked with this new device creates a similar functionality to the integrated ARRI camera/WCU-4 system to effectively make a RED PLUS camera and VMI include this module with its RED EPIC-W cameras without additional charge.

Read VMI's article: WLCS Systems, All you need to know to explore the question of how to choose between the various systems and to introduce the range of WLCS systems which VMI arguably considers the best in their field and explain why we think that they work very well in given scenarios.

Integrated RED PLUS system allows the lens control motors to plug directly into the camera system and add the following functionality:

  • Connect Lens Control servo motors directly to the camera, since the wireless lens control receiver is built into the camera and this will integrate with RTMotion WLCS systems without external brain being fitted to camera.
  • Wireless timecode and meta-data functionality from with AMBIENT’s ACN.  This includes a built-in lockit box. 
  • Extended range of Fool Control of camera via a powerful, fully-configurable dual-band wifi module.
  • Wireless Live Color grading for HDR and SDR with leading software solutions such as Pomfort Live Grade, Pomfort LiveGrade, FilmLight Prelight, Colorfront On-Set Live!, CODEX Live and Qtake
  • 3 x HD-SDI outputs as standard

This is the ultimate in camera integration to make the systems extremely elegant and devoid of the ‘rats nest’ of cable and peripherals that drama crew have been accustomed to working with.

RED EPIC-W Helium Lens Coverage, 8K, 6K, 4K and crop factor

A big concern with the previous RED Dragon was that the larger Dragon sensor caused vignetting with many film lenses and DPs had to be aware of potential cropping factors and camera/lens incompatibilities

This is no longer a concern with the new Helium Sensor, which whilst greater resolution than the earlier Dragon sensor, is simultaneously smaller too.  So as a consequence, you can effectively capture 6K with a regular S-35 image size and not worry about cropping, though acquiring at 8K may still produce vignetting with certain lenses.  See Crop Factor with RED Dragon.

Proxy/Alternative Codecs

Whilst the RED workflow is very well established, sometimes the quality of the RED codec is too good for small screen productions and it can sometimes be easier to use simpler codecs if you are shooting for TV or the internet.  

The new EPIC-W now allows multiple Codec Capture using the internal SSD minimag storage to permit R-3D REDCODE RAW, 4K Apple Prores 4444 or AVID DNxHR/HD formats at up to 275MB/second.  2 x RED Minimag 512GB SSDs are included as standard and more storage is available at additional charge.

VMI Epic-W PLUS Helium/OMOD COMMAND RT Camera System

  • EPIC Dragon Brain with titanium PL mount
  • Bomb EVF® with cable
  • 5in Touchscreen LCD  with cable
  • Twin EVF/LCD viewfinder outputs
  • RED Wooden Camera D-Box for multiple inputs and outputs
  • ARRI Pro kit with 15mm bars system
  • Arri BP8 Plate with sliding plate
  • 2 x 512GB Minimag SSD storage
  • Redmag 1.8” redstation with mains adapter (Firewire 800, USB 2.0 and eSATA)
  • 1 x Anton Bauer TM-4 4 way charger
  • 5 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.

Latest RED EPIC-W PLUS Helium 8K large sensor digital film camera complete with OFFHOLLYWOOD Command RT integrated module for additional functionality.

This combination effectively turns a RED EPIC-W 8K camera into an EPIC-W PLUS with built-in WLCS receiver and lockit box, similar to Alexa PLUS.

Read VMI's article: WLCS Systems, All you need to know to explore the question of how to choose between the various systems and to introduce the range of WLCS systems which VMI arguably considers the best in their field and explain why we think that they work very well in given scenarios.

more...


Optional Accessories

Guides

Wireless Lens Control Systems - all you need to know

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

Do we adopt 4K now or wait for 8K?

The Case for and against 4K

Shooting with HD Video lenses on large sensor cameras

Large Sensor Cameras - Everything that you need to know

 

Guides:

RED EPIC-W Specs

SENSOR  
SENSOR TYPE HELIUM 35.4 Megapixel CMOS
EFFECTIVE PIXELS 8192 x 4320
SENSOR SIZE 29.90 mm x 15.77 mm (Diagonal: 33.80 mm)
DYNAMIC RANGE 16.5+ stops
SIGNAL-TO-NOISE-RATIO 80 dB
   
   
RECORDING  
MAX DATA RATES Up to 275 MB/s using RED MINI-MAG (512GB & 1TB) 
Up to 225 MB/s using RED MINI-MAG (120GB & 240GB)
REDCODE RAW MAX FRAME RATES  1 30 fps at 8K Full Format (8192 x 4320), 30 fps at 8K 2.4:1 (8192 x 3456) 
30 fps at 7K Full Format (7168 x 3780), 40 fps at 7K 2.4:1 (7168 x 3024) 
75 fps at 6K Full Format (6144 x 3240), 100 fps at 6K 2.4:1 (6144 x 2592) 
96 fps at 5K Full Format (5120 x 2700), 120 fps at 5K 2.4:1 (5120 x 2160) 
120 fps at 4K Full Format (4096 x 2160), 150 fps at 4K 2.4:1 (4096 x 1728) 
150 fps at 3K Full Format (3072 x 1620), 200 fps at 3K 2.4:1 (3072 x 1296) 
240 fps at 2K Full Format (2048 x 1080), 300 fps at 2K 2.4:1 (2048 x 864)
PLAYBACK FRAME RATES  23.98, 24, 25, 29.97, 47.95, 48, 50, 59.94, 60 fps, all resolutions
(PROJECT TIMEBASE)
REDCODE SETTINGS  6:1 REDCODE for 8K Full Format (8192 x 4320) at 24 fps 
RANGE FROM 2:1 UP TO 22:1  1 7:1 REDCODE for 8K Full Format (8192 x 4320) at 30 fps 
  2:1 REDCODE for 4K Full Format (4096 x 2160) at 24 fps 
  4:1 REDCODE for 4K Full Format (4096 x 2160) at 60 fps
REDCODE RAW  8K Full Format (8192 x 4320), 2:1, 2.4:1, 16:9, 3:2, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x 
ACQUISITION FORMATS  2 7K Full Format (7168 x 3780), 2:1, 2.4:1, 16:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 
  6K Full Format (6144 x 3240), 2:1, 2.4:1, 16:9, 3:2, 4:3, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x 
  5K Full Format (5120 x 2700), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 
  4K Full Format (4096 x 2160), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 
  3K Full Format (3072 x 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 
  2K Full Format (2048 x 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
APPLE PRORES 422 HQ, 422 and 422 LT at 4K (4096 × 2160) up to 29.97 fps 
4444 XQ and 4444 at 2K (2048 × 1080) up to 120 fps 
422 HQ, 422 and 422 LT at 2K (2048 × 1080) up to 120 fps
AVID CODECS  3 DNxHR HQX at 4K (4096 × 2160) 12-bit up to 29.97 fps 
DNxHR HQ, SQ and LB at 4K (4096 × 2160) 8-bit up to 29.97 fps  
DNxHR 444 at 2K (2048 × 1080) 12-bit up to 120 fps 
DNxHD 444 and HQX (1920 × 1080) 10-bit up to 120 fps 
DNxHD HQ, SQ and LB (1920 × 1080) 8-bit up to 120 fps 
   
   
GENERAL  
CONSTRUCTION Magnesium and Aluminum Alloy
WEIGHT 3.35 lbs (BRAIN with Integrated Media Bay)
OPERATING TEMPERATURE 0°C to 40°C (32°F to 104°F)
STORAGE TEMPERATURE –20°C to 50°C (–4°F to 122°F)
RELATIVE HUMIDITY 0% to 85% non-condensing
   
   
FEATURES  
COLOR MANAGEMENT Supports 33×33×33, 32×32×32, 26×26×26, and 17×17×17 3D LUTs 
Variable number of 3D LUT outputs with DSMC2 expander module 
User programmable shaper 1D LUTs 
Tetrahedral interpolation, 16-bit processing
AUDIO Integrated dual channel digital stereo microphones, uncompressed, 24-bit 48 kHz 
Optional 2 additional channels with DSMC2 expander module, uncompressed, 24-bit 48 kHz
REMOTE CONTROL Integrated REDLINK WiFi antenna 
Ethernet, RS232, and GPI Trigger with DSMC2 expander module
MONITOR OUTPUTS 3G-SDI (HD-SDI) and HDMI with DSMC2 expander module 
1080p RGB or 4:2:2, 720p RGB or 4:2:2 
480p RGB or 4:2:2 (HDMI Only) 
SMPTE Timecode, HANC Metadata, 24-bit 48 kHz Audio
MONITOR OPTIONS DSMC2 RED Touch 4.7" LCD, DSMC2 RED Touch 7.0" LCD and DSMC2 RED EVF (OLED) with cable-free connection. 
RED Touch 9.0" LCD, RED Touch 7.0" LCD, RED Touch 5.0" LCD, RED PRO 7" LCD, BOMB EVF (OLED) and BOMB EVF (LCOS) compatible with DSMC2 LEMO Adaptor A and LCD/EVF cable.
   
   
SOFTWARE  
REDCINE-X PRO  4K: DPX, TIFF, OpenEXR (.RED via RRencode plugin) 
DELIVERY FORMATS 2K: DPX, TIFF, OpenEXR (.RED via RRencode plugin) 
  1080p RGB 4:2:2, 720p 4:2:2 : QuickTime, JPEG, AVID AAF, MXF 
  1080p 4:2:0, 720p 4:2:0 : H.264, .MP4
VIDEO EDITING SOFTWARE  Adobe Premiere Pro, Avid Media Composer 
COMPATIBILITY  4

DaVinci Resolve, Edius Pro, Final Cut Pro, Vegas Pro

 

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