The first of the two models we’re being teased with is the incredibly high-end EPIC-X which will be released in four stages, beginning with a pre-production model dubbed TATTOO and ending with the wide-spread final release model. The details explain the $US28,000 price tag:

* New MYSTERIUM-X 5K sensor
* 5K (2:1) at 1-100fps
* 4K (2:1) at 1-125fps
* Quad HD at 1-120fps
* 3K (2:1) at 1-160fps
* 2K (2:1) at 1-250fps
* 1080P (scaled from full frame) at 1-60fps
* Increased Dynamic Range, reduced noise
* Time Lapse, Frame Ramping
* REDCODE 250
* ISO 200-8000
* New FLUT colour Science
* Completely Modular System, each Module individually upgradeable
* Independent Stills and Motion Modes (both record full resolution REDCODE RAW)
* 5 Axis Adjustable Sensor Plate
* Multiple Recording Media Options (Compact Flash, 1.8″ SSD, RED Drives, RED RAM)
* Wireless REDMOTE control
* Touchscreen LCD control option
* Bomb-EVF, RED-EVF and RED-LCD compatible
* Multiple User Control Buttons
* Interchangeable Lens mounts including focus and iris control of electronic RED, Canon and Nikon lenses (along with Zoom data)
* “Touch Focus Tracking” with electronic lens mounts and RED Touchscreen LCDs
* LDS and /i Data enabled PL Mount
* Rollover Battery Power
* Independent LUTs on Monitor Outputs
* Independent Frame Guides and Menu overlays on Monitor Outputs
* Monitor Ports support both LCD and EVF
* True Shutter Sync In/Out and Strobe Sync Out
* 720P, 1080P and 2K monitoring support
* Gigagbit Network interface and 802.11 Wireless interface
* 3 Axis internal motion sensor, built in GPS receiver
* Enhanced Metadata
* Full size connectors on Pro I/O Module. AES Digital Audio input, single and dual link HD-SDI
* Support for RED, most Arri 19mm, Studio 15mm, 15mm Lite, Panavision and NATO accessories
* Dimensions- Approx. 4″x4″x5.5″
* Weight (Brain only)- Approx. 6 lbs (2.72kg)

The other temptress is the Scarlet 2/3-inch, which is “more akin to current video-shooting DSLRs, though it doesn’t have a full frame sensor”. As with the EPIC-X, there’s no release date given. There are some great specs though:

* Increased REDCODE data rates
* New FLUT colour, Gamma and Sensitivity Science. Now same as EPIC.
* More extensive modular system integration.
* Interchangeable Lens mounts including focus and iris control of electronic RED, Canon and Nikon lenses, along with Zoom data (Scarlet 2/3″ Interchangeable)
* “Touch Focus Tracking” with electronic lens mounts and RED touchscreen LCD’s (Scarlet 2/3″ Interchangeable and 8x Fixed)
* Two independent microphone level channels, balanced input circuits, 48V Phantom Power, digitized at 24-bit 48KHz.
* GigaBit Ethernet port
* Scaled 1080P at 60fps

Here are a bunch of pictures of the gadgets to drool over (or mock):

Actual RED Pre-Production Unit, Parts, and Details

Accessory and Camera Renders

[Red User via Engadget]

Red Mini LCD will show you what the camera is framing in real time.

Parts of alien spaceships, or Darth Vader’s sexual toys. I can go both ways. Check each accessory name and description in the gallery, along with the Epic and Scarlet camera bodies. [Red User Forums]

It’s technologically interesting since, with both the 3K and the 5K Red cameras, they’re able to take video and strategically take out frames to use as stills. This makes it a lot easier on the photographer since he doesn’t need to know, intuitively, when the best few seconds are to snap a stream of shots — he can just point the thing and tell Kate to be sexy.

It’s too bad for Kate though, because in order to crown a new Sexiest Woman Alive next year, Esquire will have to have her put down. [Esquire]

We’ve seen the Red One blur the line between DSLRs and HD cameras with Esquire’s video-still Megan Fox cover, but this video shows how a photography studio that shoots movie posters has used it to blend photography and video even more.

And here’s one of the finished products:

[Alexx Henry]

Captured on the 4K RedOne (that’s a frame resolution of 4096×2304, or 9.4 megapixels), the video-sourced cover image is thought to be a first in the magazine industry, challenging traditional SLR photography and the distinctions of photo vs video.

In other good news, there’s a pile of leftover Megan Fox footage that’s up at Esquire now. But in one of humanity’s great travesties, the clips have been downrezzed for web streaming. [Esquire]

Jarred Land from RED says this is the first footage from the 2/3″ Scarlet prototypes and that the frame above was pulled straight from the video. He also says this “heavily compressed” and “quick and dirty.” We should all aspire to assemble things as quickly and dirtily as this. [RED Forums]

Norwegian news outfit NRKbeta conducted this little showdown at the film studio the Jar, with the first two scenes shot with controlled lighting. Here, the Red One is way more detailed, with a superior dynamic range compared to the 5D Mark II (which is plagued some nasty washouts in the second scene). That said, the super-saturated (if unrealistic) colour from the 5D looks way more delicious and it still has less noise than Red in the first scene.

Outside, at night, however, it’s completely the 5D’s game (which we kinda already knew). You can barely see anything with the Red ONE footage, but the video from the 5D Mark II looks fantastic.

Not bad for a $US2700 camera up against a $US17,500 one. NRK stresses that this whole setup is an informal, non-scientific showdown, but it’s close enough for me. [NRK Beta, NRK Beta]

As a production, Sanctuary has taken a lot of risks—they were also the first TV show to go almost completely green-screened, depending on rendered backgrounds for many of their shots. Oddly enough, this technique allowed the RED to really shine.

The crew gushes over the RED One, speaking mostly about its ease of use and versatility, and hinting that its reasonable price allowed the cameramen to spend a bit more on cinema-grade lenses. The most important ability of the RED, as far as Sanctuary is concerned, is resolution. With digital chopping an manipulation the name of the game, it’s vital that individual components of the video can be cut and integrated into a composite scene without losing clarity, something which the One’s massive 4k sensor makes possible.

It’s also interesting to note how using a camera like this changes the production dynamics of a show; reviewing and editing footage occurs almost instantly, rather than hours later as in a traditional film production. So interesting is the production scheme, in fact, that it’s the most interesting thing about this entire show. Oh well! [Dvice]