EPOCH is a post-apocalyptic short film of epic proportions shot by Hollywood DP Christopher Probst and directed by Rich Lee designed to demonstrate the immense performance of the new top-end RED MONSTRO 8K VV sensor, which we reported on a while back in this post here.
For those that need to do some catch-up, the RED Monstro 8K VV has been designed to sit at the heart of the RED WEAPON CF and StormTrooper camera bodies, has a tad bit more dynamic range (17+ stops, or 2/3rds stop more than Dragon 8K VV, according to RED), supports the new in-camera IPP2 image pipeline, and shows a drastic reduction in noise.
The 35.4 megapixel MONSTRO 8K VV sensor measures 40.96mm x 21.60mm and is capable of shooting motion and stills in 8K 2.4:1 at up to 75 frames per second (fps), or 8K Full Format at 60 fps delivering exceptional cinematic image quality with a sensor size of 40.96 mm x 21.60 mm.
Image by RED
RED MONSTRO 8K VV Sensor Features
- MONSTRO 35.4 Megapixel CMOS
- 8K (8192 x 4320) resolution
- Incredible dynamic range up to 17+ stops
- 8K up to 60 fps full-format
- 4K up to 30 fps
- 2K up to 120 fps using ProRes or Avid
- Up to 300 MB/s write speeds
- Interchangeable lens mount
- Full modularity and a small, lightweight design
- Ships with RED’s new image processing pipeline (IPP2)
- Available as paid upgrade to RED Weapon CF and Weapon StormTrooper owners
- $79,500 to buy as camera brain
EPOCH – Shot on RED Monstro 8K VV (YouTube version):
You can also see EPOCH in the Vimeo version below:
Christopher Probst (IMDB link/website) has been on top of his game for a long time, having shot massive music videos for top artists and also numerous features and big-budget episodic dramas (Netflix’s Mindhunter, and also Detention – directed by Joseph Kahn, a legendary music video director) and has been using the Monstro 8K VV since it started shipping back in January on such music videos and commercials.
So naturally he got together with his long time collaborator – Director Rich Lee to shoot EPOCH for him on the Monstro 8K VV.
EPOCH was meant to be a real production test for the sensor in a production environment with proper lights, dollys, cranes, drones etc., as opposed to shooting charts, according to Probst. For the night time shots he used ARRI Master Anamorphics, while switching to vintage spherical lenses for the daytime scenes.
Image by Christopher Probst
The short was filmed in 7/8K spherical widescreen and 8K anamorphic and subsequently finished in 4K. There is a big chance that RED may have screenings of this short film at the upcoming CineGear Expo in Los Angeles in June.
To learn more about the behind the scenes of EPOCH dive into this thread on REDuser where Christopher Probst has posted some really cool behind the scenes photos and info about the production.
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