Capturing wildlife involves a camera that is fast, lightweight, and versatile. Which is why a tapeless, high-speed, digital cinema camera makes the most sense for nature photographers and cinematographers alike. National Geographic filmmaker Mark Emery and nature cinematographer Joe Poncorvo are no strangers to this, which is why when they go out into the field, they take their RED EPIC with them. Poncorvo tells TVTechnology:

"Not only does EPIC capture a raw image but it does so at 2_5K. Combined with high frames rate, it's a natural for natural history."

High-resolution content provides National Geographic's audience with unparalleled image detail and provides cinematographers and editors with flexibility in post-production. Mark Emery explains how he leverages the RED EPIC's 5K imagery for his benefit:

"Because the image is so massive and our final product is for TV, I can grab matched close ups of single bears from my master shot of several bears, in post. That reduces lens changes so I can follow the action."

Many of the same lenses used for wildlife photography may be used with the RED EPIC or SCARLET, with Canon and Nikon mounts that are simple to mount and swap. Instead of having to purchase or rent heavier PL mount lenses, they can use the same glass and leverage the EPIC's high-resolution and high frame rates.