The train appears to be leaving the station as another “A-List” director, Bryan Singer endorses the new Red Camera system known as Epic:

From: bleedingcool.com

In my youth, Kubrick’s Barry Lyndon was almost an mythical movie, and a big part of the myth revolved around the “special lenses” that Kubrick used to shoot the film. Made by Zeiss from NASA-developed still-camera lenses, they allowed Kubrick and cinematographer John Alcott to shoot a number of scenes in the film that were lit entirely by candlelight.

From what I keep reading about its capabilities, I think Kubrick would have loved the upcoming Red EPIC camera, and here’s one hint as to why.

Bryan Singer has personally stopped by the Red User forums to leave a Christmas Eve message, revealing just a little of what he’s planning for his next picture:

I’m very much looking forward to using the EPIC Red for my next movie Jack the Giant Killer which will be shot in, what else, 3D. The camera’s incredibly compact size and extraordinary resolution are ideal for the 3D format.

But more importantly Jack the Giant Killer is my first movie set in a time before electricity. The EPIC’s extraordinary exposure latitude will allow me to more effectively explore the use of natural light.

“More importantly”? Yeah, I’m sure some people are going to read that as anti-3D sentiment. Either way, I’m reckoning that this is going to be a wonderfully shot movie and to know that Singer is feeling ambitious about the cinematography is nicely encouraging.

Update: 12.17.10

From Jim Jannard and Darius Wolski, A.S.C.

Ridley Scott’s upcoming Science Fiction film, which begins principal photography this spring, will be shot on EPIC.

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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.”

11.28.10 from Jim Jannard, owner and developer of the Red Camera systems:

Peter Jackson’s two film adaptation of The Hobbit will be shot in 3D using RED DIGITAL CINEMA’S soon to be released EPIC Digital Cameras.

The Hobbit will be amongst the first productions in the world to use the EPIC and at least thirty cameras will be required by the 3-D production. The EPIC’S small size and relatively low weight, makes it perfect for 3-D – where two cameras have to be mounted on each 3D rig.

The successor to RED’s industry changing RED ONE, the EPIC has 5K resolution, can shoot up to 120 frames per second and has a new HDRx™™ mode for the highest dynamic range of any digital cinema camera ever made. Taking everything they had learned from building their first camera, RED designed the EPIC from scratch and have produced a smaller, lighter camera that is an order of magnitude more powerful.

Jackson has a long history with RED, dating back to when he directed the short film ‘Crossing the Line’ as a very early test of prototype RED ONE cameras. “I have always liked the look of Red footage.” he says, “I’m not a scientist or mathematician, but the image Red produces has a much more filmic feel than most of the other digital formats. I find the picture quality appealing and attractive, and with the Epic, Jim and his team have gone even further. It is a fantastic tool, the Epic not only has cutting edge technology, incredible resolution and visual quality, but it is also a very practical tool for film makers. Many competing digital systems require the cameras to be tethered to large cumbersome VTR machines. The Epic gives us back the ability to be totally cable free, even when working in stereo.”

Jim Jannard the owner and founder of RED flew to New Zealand earlier this year with members of his team so that Jackson could test the EPIC and assess its suitability. “Everybody at RED is incredibly proud that Peter has chosen the Epic” says Jannard, “The Hobbit is a major production, and could have chosen any camera system that they wanted. The fact that they went with us is extremely gratifying.”

The Hobbit will start shooting in New Zealand early next year.

Jim

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