Welcome to Hinton the Mover Ltd.
With 80 years proven performance, why not let Hinton the Mover guide you through the moving process.
Look to us for your local, long distance, cross border, overseas, storage or vehicle moving needs.
We also offer
full or partial packing services or if you are just looking for packing material, we are here to assist you.
Need a piano moved? Let our team of professionals help you.
We have the most experience in moving all types of
pianos in the Windsor/Essex County area.
Each year we are awarded the quality service award from United Van Lines.
We were also named The Biz X Mover of the year in 2008.
Please take advantage of our free in home and online estimates, and give us a call
Full Service Moving
Experience a Hinton the Mover move. Across the street or around the world, we make it easy to relocate.
Do it Yourself Moving
For the Do-it-yourselfers we have the resources you need to move yourself anywhere in Canada.
Buying or Selling Your Home
We can provide convenient relocation solutions with our real estate, legal and moving services.
Helpful Videos & Information
Learn more about moving with our helpful videos or come attend our free packing school.Shopping in China?
Don't show this message again
We have set cookies in your browser to help make this website better.
You can find more information about our use of cookies and how we protect your personal information in our
Your web browser has problems displaying this site.
Make sure you are using the latest version of your browser or consider using
Absolutely
EPIC ushers in the next generation of digital cinema, featuring a 5K sensor
capable of capturing 1 to 120 frames per second at full resolution. From
fashion spreads to 3D IMAX features, EPIC has crossbred elite photography
with unrivaled cinema capability—all in a camera the size of a DSLR. In
challenging lighting conditions, EPIC makes it easy to adapt with its ability
to reach up to 18 stops of dynamic range with HDRx. Remarkable technology
packed into a 4lb body - with EPIC, less is more.
Resolution
Consistent with RED’s high-resolution lineage, EPIC has made large format
distribution accessible and easy. 5K images make it possible for you to
streamline your footage for IMAX applications, giving you the most resolution
for stills and motion workflows. No matter the size of your project, 5K
gives you every opportunity to be EPIC.
Photography icons from Bruce Weber to Greg Williams have used RED cameras
to shoot for the most influential fashion magazines in the world. Vogue,
Harpers Bazaar, and W magazine have all counted on RED DSMC for covers,
photo spreads and video content—getting the most out of every shoot.
RED accessories and modules allow your camera to adapt easily to fit every
production. Whether you’re gearing up for a photo shoot or priming for
a feature, there are no limits when it comes to customizing your camera.
Take advantage of modular architecture and have the perfect tool for every
REDCINE-X PRO software provides you with a wealth of integrated tools
to import, finish, and export your images within minutes. Offload your
media using one of our RED STATIONS and process your footage with familiar
grading modules and filters. Whether you’re working with a stills or motion
workflow, REDCINE-X PRO hosts an array of advanced features to support
your workflow from end to end. Take advantage of your RAW potential with
REDCINE-X PRO—available free only .
Everything
Whether you’re shooting a spread for Esquire or an IMAX-ready blockbuster,
EPIC’s stunning 5K images fit every facet of distribution. Precisely engineered
to exceed even the highest standards, EPIC features advanced technology
that sets the precedent for cinema and photographic excellence. With DSMC
functionality, you’ll be able to capture a breadth of video and stills
all at once. Any lens. Every job. One EPIC.
No project is ever the same. Which is why EPIC features interchangeable
lens mounts to ensure you get the look you want every time. With mounts
for Nikon, Leica, Canon, and PL glass, you’ll never be short of options
to pick and choose from. Equip yourself to express your vision with EPIC
and DSMC technology.
To The Power of X
HDRx technology yields up to 18 stops of dynamic range, dilating your
exposure in even the most challenging lighting conditions. EPIC offers
up to 4 more stops of latitude than its 35mm and DSLR counterparts, helping
cinematographers and photographers alike make the impossible possible.
With HDRx, dynamic range is finally dynamic.
EPIC is the only 5K solution for lightweight 3D image acquisition, ideal
for theatrical and IMAX applications. Small form factor and broad compatibility
is important for efficient 3D production, which is why 3ality Technica
was inspired to create their compact ATOM 3D rig exclusively for the EPIC.
Once you’ve shot your footage, bring your project into REDCINE-X PRO for
easy 3D grading, viewing, and exporting. EPIC adds another dimension to
what you once thought was possible.
Doesn't Blink
With the ability to capture a 5K stream of up to 120 frames per second,
you’ll never miss that perfect shot. Ever. EPIC aligns hi-resolution with
hi-speed, capable of reaching maximum speeds of up to 300 fps at 2K. For
robust efficiency, you can capture video and photos simultaneously, using
an HDRx track to draw sharper stills. With EPIC, your subject will never
be faster than your camera.
Load Your&
REDMAG SSD media provides a solid, dependable media solution with storage
capacities from 64GB, 128GB, and 256GB. Capable of reaching speeds up to
180 mb/s, REDMAG media is 2x faster than traditional CF cards—making it
easier to offload the 160,000+ RAW frames you can capture with one SSD.
14 MEGAPIXEL MYSTERIUM-X(TM)
PIXEL ARRAY
5120 (h) x 2700 (v)
DYNAMIC RANGE
13.5 stops, up to 18 stops with HDRx(TM)
MAX IMAGE AREA
5120 (h) x 2700 (v)
LENS COVERAGE
27.7mm (h) x 14.6mm (v) x 31.4 mm (d)
DEPTH OF FIELD
Equivalent to S35mm (Motion) / APS-H (Still) lenses
Equivalent to 16mm (Motion) lens in 2K RAW
ACQUISITION FORMATS
5K RAW (Full Frame, 2:1, 2.4:1 and Anamorphic 2:1)
4.5K RAW (2.4:1)
4K RAW (16:9, HD, 2:1 and Anamorphic 2:1)
3K RAW (16:9, 2:1 and Anamorphic 2:1)
2K RAW (16:9, 2:1 and Anamorphic 2:1)
1080p RGB (16:9)
720p RGB (16:9)
PROJECT FRAME RATES
23.98, 24, 25, 29.97, 47.96, 48, 50, 59.94 fps, all resolutions
DELIVERY FORMATS*
4K : DPX, TIFF, OpenEXR (RED RAY via optional encoder)
2K : DPX, TIFF, OpenEXR (RED RAY via optional encoder)
1080p RGB or 4:2:2, 720p 4:2:2 : Quicktime, JPEG
Avid AAF, MXF. .0, 720p 4:2:0 : H.264, .MP4
PROGRAM OUTPUT
HD-SDI Clean Feed
2K RGB, 1080p RGB or 4:2:2, 720p 4:2:2
SMPTE Timecode, HANC Metadata, 24-bit 48Khz Audio
MONITOR OUTPUT
HD-SDI and HDMI with Frame Guides and Look Around
2K RGB, 1080p RGB or 4:2:2, 720p RGB or 4:2:2
SMPTE Timecode, HANC Metadata, 24-bit 48Khz Audio
DIGITAL MEDIA
REDMAG (SSD) Module : (64, 128, 256GB Media)
REDCODE(TM)
12 and 16-bit RAW : Compression choices of 18:1 to 3:1
1-120 fps 5K, 4.5K
1-150 fps 4K
1-200 fps 3K
1-300 fps 2K
2 channel, uncompressed, 24 bit, 48KHz.
Optional 4 channel, and AES / EBU digital audio.
MONITORING OPTIONS
RED LCD 5" Touchscreen Display
BOMB EVF(TM) High Definition Viewfinder
REMOTE CONTROL
Wireless, Ethernet, RS232, GPI Trigger
5lbs. Body only
CONSTRUCTION
Aluminum Alloy
TEMPERATURE RANGES
Operating Range: 0?C to +40?C (32?F to 104?F)
Storage Range: -20?C to +50?C (-4?F to 122?F)
* FROM REDCINE-X
Tech specs reflect both current and projected information. Everything
is subject to change.
RED&, RED CAMERA&, RED EPIC&, SCARLET&, RED ONE&, REDRAY&, MYSTERIUM&, MYSTERIUM X&, R3D&, REDCODE&, REDMOTE& and all other trademarks, service marks, trade names logos, and product names of RED used on this site are trademarks or registered trademarks , Inc.
in the USA and other countries.The Universe of Aristotle and Ptolemy
The Universe of
Aristotle and Ptolemy
The celestial sphere that we introduced previously is a convenient fiction to
locate objects in the sky.
However, the Greek philosopher
Aristotles works are available at the
) proposed
that the heavens were literally
composed of 55 concentric, crystalline spheres
the celestial objects were attached and which rotated at different velocities
(but the angular velocity was constant for a given sphere),
with the Earth at the center.
The following figure illustrates the ordering of
the spheres
to which the Sun, Moon, and visible planets were attached.
(The diagram is not to scale, and the
planets are aligned for conveni
generally they were distributed around the spheres.)
There were additional "buffering" spheres that lay between the spheres
illustrated.
The sphere of the stars lay beyond the ones shown here for the
finally, in the Aristotelian conception there was an outermost
sphere that was the domain of the "Prime Mover".
The Prime Mover caused the
outermost sphere to rotate at constant angular velocity, and this motion was
imparted from sphere to sphere, thus causing the whole thing to rotate.
By adjusting the velocities of these concentric spheres, many features of
planetary motion could be explained.
However, the troubling observations of
varying planetary brightness and retrograde motion could not be accommodated:
the spheres moved with constant angular velocity, and the objects
attached to them were always the same distance from the earth because they
moved on spheres with the earth at the center.
Epicycles and Planetary Motion
The "solution" to these problems came in the form of a mad, but clever
planets were attached, not to the concentric spheres themselves, but
to circles attached to the concentric spheres, as illustrated in the adjacent
These circles were called "Epicycles", and the concentric spheres to
which they were attached were termed the "Deferents".
Then, the centers of the
epicycles executed uniform circular motion as they went around the deferent at
uniform angular velocity, and at the same time the epicyles (to which the
planets were attached) executed their own uniform circular motion.
effect was as illustrated in the following animation.
As the center of the
epicycle moves around the deferent at constant angular velocity, the planet
moves around the epicycle, also at constant angular velocity.
The apparent
position of the planet on the celestial sphere at each time is indicated by the
line drawn from the earth through the planet and projected onto the celestial
The resulting apparent path against the background stars is indicated
blue line.
Now, in this tortured model one sees that it is possible to have retrograde
motion and varying brightness, since at times as viewed from the earth the
planet can appear to move "backward" on the celestial sphere.
Obviously,
the distance
of the planet from the Earth also varies with time, which leads to variations
in brightness.
Thus, the idea of uniform
circular motion is saved (at least in some sense) by this scheme, and it allows
a description of retrograde motion and varying planetary brightness.
More Sophisticated Epicycles:
The Ptolemaic Universe
However, in practice, even this was not enough to account for the detailed
motion of the planets on the celestial sphere!
In more sophisticated epicycle
models further "refinements" were introduced:
In some cases, epicycles were themselves placed on epicycles, as
illustrated in the adjacent figure.
In actual models, the center of the epicycle moved with uniform circular
motion, not around the center of the deferent, but around a point that was
displaced by some distance from the center of the deferent.
That ancient astronomers could convince themselves that this elaborate scheme
still corresponded to "uniform circular motion" is testament to the power of
three ideas that we now know to be completely wrong, but that were so ingrained
in the astronomers of an earlier age that they were essentially never
questioned:
All motion in the heavens is uniform circular motion.
The objects in the heavens are made from perfect material, and cannot
change their intrinsic properties (e.g., their brightness).
The Earth is at the center of the Universe.
These ideas concerning uniform circular motion and epicycles were catalogued by
Ptolemy in 150 A.D.
His book was called the "Almagest" (literally, "The
Greatest"), and this picture of the structure of the Solar System has come to
be called the "Ptolemaic Universe".
Medieval Aristotelian Astronomy
By the Middle Ages, such ideas took on a
new power as the philosophy of Aristotle (newly rediscovered in Europe) was
wedded to Medieval theology in the great synthesis of Christianity and Reason
undertaken by philsopher-theologians such as Thomas Aquinas.
The Prime Mover
of Aristotle's universe became the God of Christian theology, the outermost
sphere of the Prime Mover became identified with the Christian Heaven, and the
position of the Earth at the center of it all was understood in terms of the
concern that the Christian God had for the affairs of mankind.
Thus, the ideas largely
originating with pagan Greek philosophers were baptized into the
Catholic church and
eventually assumed the power of religious dogma:
to challenge this view
of the Universe was not merel it became a theological one
as well, and subjected dissenters to the considerable and not always benevolent
power of the Church.