At fxguide we cover a lot of 'impossible shots', normally achieved via CGI. With the RED EPIC, we have been filming for next term's fxphd courses and achieving the impossible - in a totally new way.
Every camera - film or digital - has limits of exposure latitude. With the EPIC those limits just got pushed...a lot. Below is a single take shot from a car mount on a Duclos 11-16mm lens at 5K of a car moving from an extremely dark tunnel to a full daylight blue sky shot. The dynamic range required to achieve this shot as one pass in camera is thanks to the new proprietary HDRx from RED Digital Cinema company.
What is so remarkable about this shot is how effortless it looks. And how natural. Yet we all know from personal experience how much we ourselves would need a moment to adjust to a harsh change in light such as this - if we were simply in the real car, let alone filming it.
Before today this would have been an impossible shot, one simply could not hold exposure in the tunnel and out in the 11am Sydney Summer sun - not without losing detail in the clouds or introducing massive noise in the blacks.
While this shot was unmanned, but even with a remote aperture control, pulling this many stops exactly as the car exited would be impossible without massive luck and a hundred takes. This shot was done in one take, with the camera setting set in a car park 5 minutes before we hit this busy tunnel.
Often a hyped device or camera fails to deliver, this is not one of those cases. This shot was the first shot the director did on the first day of filming. It only got better after this.
For more in depth training on the RED and many other professional areas - see the upcoming April term of fxphd.com (The details of the new term: April 1st LA time).
Note: To view this video below in high quality, press play. You can then select the HD "720p" option from the player pop-up menu (they default to 360p) and watch full frame by clicking the expand button.
This HDRx demo piece was filmed in Sydney by fxphd/fxguide, with Jason Wingrove directing, Tom Gleeson as Director of Photography. The final was graded by Ian Vertovec (colorist of Social Network). Shot on EPIC #123, at 5K 24fps with HDRx. Thanks to Katie Fellion and Michael Cioni of Lightiron in LA and our friends at RED.
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