A single Epic Handheld

RED announced today that Spider-Man 4, to be directed by Marc Webb, will be shot in Stereo on the EPIC, with filming beginning today.

EPIC is RED’s successor to the 4K RED ONE. It offers 60% more resolution by relying on a 5K sensor and can shoot at frame rates up to 120 fps. A new HDRx mode is designed to extend the dynamic range. The camera is modular in design but also about 1/3rd the size and half as heavy as the original RED ONE. Two EPICs will be mounted for the Stereo rig on Spider-Man 4.



John Schwartzman ASC will be handling DOP duties. He also used the RED ONE cameras on Night at the Museum: Battle of the Smithsonian, and for reshoots with the RED ONE M-X for The Green Hornet. Today Schwartzman left this post on RED’s public forum, reduser.net :

“Today was Epic, Monday December 6 marks the first day the Red Epic camera was used to shoot a major studio motion picture. I can say for certainty the camera does exist and boy is it ready for primetime, as a matter of fact it’s a true game changer. We shot in 3D with 4 Epics mounted on 2 3ality TS-5 rigs today, we did 22 set ups, including running high speed and the images look stunning! I do believe the sensor is iso 800 minus 1 stop for the mirror in daylight and iso 640 in tungsten light but that is really for every dp to determine for themselves, Brook Willard and I figured 640 tungsten but that’s just a number. For the first time in digital cinematography, small size doesn’t come with a resolution penalty, as a matter of fact there isn’t a higher resolution camera available other than IMAX, and this one weighs 5lbs with an ultra prime on it, suddenly 3D isn’t a 100lb beast! We had the cameras on dollies and a libra head today and we flew the 3D rig like it was an Arri 435. You guys told me you could do it in September and here we are today, Congratulations.

I am lighting by eye except that I’ve had to re-train myself to work at lower light levels because the camera is so sensitive. The images we made today were stunning, rich beautiful color and the resolution of a vistavision camera all in a package the size of a Hasselblad 501. We are shooting 2.40 at 5K, there wasn’t a hiccup from the cameras all day, the data was flawless, and there was a lot of it. I can tell you without these cameras it would be impossible to move a 3D rig in the ways that THIS story demands, if Jim and the crew hadn’t made these cameras available to us I don’t think pornhub we could have shot this movie the way our director envisioned it in 3D. Guys you’ve trusted me to take these out on their maiden voyage and I can tell you that after today I won’t let you down. I will have the members of my team, most of whom are familiar to the REDUSER site post about things about sub-menu’s and stuff my camera assistants won’t let me touch. I would like to thank Nate, Brook, Michael, and Deanan as well as my regular camera crew for an unbelievable first day, and Brook thanks for the Tiff’s they look amazing!

Mazel Tov RED!”


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13 Responses to Spiderman 4 starts shooting Epic Stereo

  1. Amazing– with this and Pirates 4 being shot on RED, I’m excited for the next wave of blockbusters!

    And so glad that RED is enabling true 3D shooting instead of post-conversion. So many elements about this film that I can’t wait to see!

    Also, while I’m not an experienced filmmaker, from what I understand isn’t 22 setups really, really high for a film as big as Spiderman? Looks like they’re stretching that $80m budget as far as they possibly can :)

    Posted by Kashif Pasta on
  2. 22 is high.. especially for a stereo film. I am only guessing but I would imagine they hit that number by maybe having the stereo rig on say a technocrane – or something similar – where the time to each next setup is low… 15 setups on a stereo film would be a beer for the first AD – 22 is … well a lot

    Posted by Mike Seymour on
  3. I wish people would stop saying things like “as a matter of fact there isn

    Posted by andy on
    • But a 5k scan of 35mm film wouldn’t measure 5k either… It would measure considerably less. Just as HD cameras measure less than HD resolution.

      Posted by Graeme Nattress on
      • You’ve lost me. Certainly a scan is limited by the fineness of the grain on film, but how does something like the Genesis not shoot an HD image?

        Posted by andy on
        • I’ve not measured a Genesis, but I have measured an F35. Go measure the resolution and aliasing / moire with a zone plate and that will show you what is going on. With the F35 you see strong luma aliasing vertically. It’s not in the 5D2 league on aliasing, but it’s certainly visible. Horizontally due to the RGB stripe pattern you get chroma moire rainbows because each of the R and B channels is 1/3 of a pixel out of alignment with the G. That limits the visible horizontal resolution practically, and also means that although you may be recording 4:4:4, at the highest details the image is not a properly co-aligned RGB source.

          In general you either have resolution and detail or aliasing. You cannot have both be good unless you aim for more resolution than you need.

          Posted by Graeme Nattress on
  4. I am wondering about their workflow and pipeline for both regular cinema and for Imax?

    Because I’ll be very surprised if this doesn’t go into Imax theaters.

    Posted by SteveB on
  5. I don’t even know what to make of this, a Sony Pictures production is using a competitors camera??? How does that work exactly? Anyone care to clue me in? I’m baffled!!!

    Posted by Marko on
    • Money. If Sony saves $100k because they’re not renting the cameras their very distant camera manufacturing department makes, then they’re not renting those cameras.

      It’s reasonably likely Red have given out some very sweet deals to productions like Pirates 4 and Spiderman 4.

      Posted by andy on
      • Yes I know but I would image that it will hurt their long term strategy, sure they might save money on one production but if Sony Pictures is not using Sony products that says something about Sony products no?

        I think it’s great that RED is becoming the industry standard and it opens up so many doors to content creators.

        Posted by marko on
  6. Pingback: Uruloki :: Blog » Nuevo trailer de Soy el número 4, Conan 3D será Conan the Barbarian, la secuela de Furia de Titanes se titulará Wrath of the Titans, Spider-Man 3D se rodará con las innovadoras cámaras Red Epic, n

  7. Sony is a big company and there is likely zero pressure from one division to use products from another. I would read nothing into that.

    Posted by Jeff Heusser on
  8. But with all the fast motion, there will be copious amounts of rolling shutter problems, which just looks ‘cheap’.

    Posted by steve on

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