Sue Smith

RED DIGITAL CINEMA® has released the new V-RAPTORTM [X] 8K VV and V-RAPTOR XL [X] 8K VV cameras with RED Global Vision, both are available today at RED.com or from any of RED’s authorized premium dealers. Featuring the acclaimed low-light performance, dynamic range, resolutions, high frame rates and form factor of its V-RAPTOR predecessor, the V-RAPTOR [X] introduces RED Global Vision, which includes an all new 8K VV global shutter sensor, enabling innovative features including Extended Highlights and Phantom Track. Additionally, the V-RAPTOR [X] and V-RAPTOR XL [X] systems offer increased exposure times, a further optimized optical cavity and improved audio performance. GLOBAL VISION RED Global Vision uses the global shutter sensor in V-RAPTOR [X] and V-RAPTOR XL [X] to open unprecedented capabilities. Global Vision’s Extended Highlights mode allows the camera to see color and detail into extreme highlights like never before, providing even softer and more subtle highlight roll-off when in uncontrollable environments, and an overall dynamic range of over 20 stops. Phantom Track dual-capture streamlines any virtual production environment employing GhostFrameTM or frame-remapping, capturing distinct R3D clips per LED wall view, as well as allowing for monitoring of either view live on-set over each SDI. The standard V-RAPTOR [X] is priced at $29,995, with the XL version at $44,995. THE NEW DSMC3 FLAGSHIP SYSTEMS The V-RAPTOR [X] compact body is built with the keystone features found in the original V-RAPTOR platform, now bolstered by newly engineered in-camera audio pre-amps and an optimized sensor cavity for improved contrast. The V-RAPTOR [X] has 2x 12G SDI’s, capable of unique monitoring views, a locking Canon RF style lens mount for rigid and flexible lens selection, and CFexpress Type B media for up to 800MB/s formats such as 8K at 120fps. The V-RAPTOR XL [X] is designed to support high-end television and motion picture productions, as well as storytellers requiring an elite all-in-one solution. It features dual-voltage battery support compatible with a wide range of common batteries found on set today, including both 14 V batteries and high-voltage 26 V V-Lock or Gold Mount options. A premier feature remains the built-in electronic ND which allows cinematographers to precisely select their density in 1/4, 1/3, and full-stop increments, providing unrivaled control of exposure and depth of field. The [X] sensor capabilities reach the exceptional frame-rate performance levels of the V-RAPTOR line even with its global shutter readout. Capturing 8K full sensor at up to 120 frames per second (150fps at 2.4:1), 6K up to 160 fps (200fps at 2.4:1), and 2K (2.4:1) at an incredible 600 frames per seconds. As with the other cameras in RED’s ecosystem, it harnesses RED’s proprietary REDCODE RAW codec, allowing users to capture 16-bit RAW and leveraging RED’s latest IPP2 workflow and color management tools. "Ever since our sensor team cracked the code for a no-compromise global shutter sensor design in the original KOMODO, customers have been pushing us hard to bring our global shutter technology to our large-format sensors, and today we are happy to deliver beyond our wildest expectations” said RED Digital Cinema President Jarred Land. “We are very proud to not only be at the forefront of global shutter technology but also to be the first company delivering large format global shutter cameras to filmmakers. “Creating a global shutter sensor while maintaining dynamic range is almost impossible and then on top of that is the addition of an optional Extended Highlights mode. It shows we are pushing image processing far past the limits that were once believed and exceeding 20 stops of dynamic range. V-RAPTOR [X] and V-RAPTOR XL [X] are the result of years of incredibly difficult work internally by our world leading engineers and from the ongoing collaborative work with preeminent partners who bring invaluable experience and perspective to the process from cinema technology to virtual production, volumetric capture and live sports.” UPGRADE PROGRAM Along with the introduction of these groundbreaking cameras, RED remains committed to its filmmaker-first approach with upgrade programs available for current V-RAPTOR and V-RAPTOR XL owners to advance into the [X] systems featuring RED Global Vision. Current V-RAPTOR and V-RAPTOR XL owners can upgrade directly via RED. The upgrade program is priced at $12,500 for both V-RAPTOR 8K VV and V-RAPTOR XL 8K VV customers. “Fundamentally important sensor capabilities, Global Vision, internal ND filter, and improved audio, are all why the [X] camera is going to give storytellers in motion pictures and other high-end productions the images they desire," said RED Executive Vice President Tommy Rios. “We are thrilled to put these innovations into the hands of our users, and we are equally enthusiastic about our upgrade program for current DSMC3 V-RAPTOR and V-RAPTOR XL shooters, which should allow them to take advantage of these latest breakthroughs." BRAND NEW ACCESSORIES RED also announced all new accessories including the RED Compact EVF Pack and V-RAPTOR® Advanced V-Lock Plus & Gold Mount Adapter Plus battery adapters. The EVF Pack, currently available to order at $4,950 (standalone EVF: $3,450), is a single cable monitoring solution for all DSMC3 camera systems, featuring a 1080p micro-OLED display, and user assignable buttons to quickly access tools such as peaking and magnify or assignable to control the camera’s setting such as ISO, FPS and White Balance. The Advanced Adapter Plus, available soon for $1768, will be sold with the V-RAPTOR Tactical Top Plate and includes all new features including a 6-Pin DC-IN port for continuous power to camera and auxiliary power outputs for additional flexibility and use with external power sources. For more information on RED V-RAPTOR [X], V-RAPTOR XL [X], RED Compact EVF Pack, and additional accessories, visit RED.com or RED Premium Dealers. Filmmakers can also visit the RED Studios Hollywood Store location or any one of the RED Premium Dealers across the globe to schedule a demo and learn more about the products.

RED DIGITAL CINEMA® will spotlight its latest technologies at IBC 2023 in Amsterdam from September 15-18. Attendees will have an opportunity to explore the entire lineup of RED camera systems as well as the latest cinema broadcast and IP-based workflow solutions including RED Connect throughout the duration of the show. RED’s latest update to the breakthrough RED Connect offering is the ability to easily output a standardized SMPTE ST 2110-22 JPEG-XS 4K 60P stream over IP networks. Productions can simply integrate RED into an IP broadcast environment with the help of NMOS camera discovery and management (AMWA), PTP synchronization (SMPTE ST 2059-2) and return video (SMPTE ST 2110-20) with VSF TR-08. In Matrox Video booth 7B15, RED will showcase this latest RED Connect feature in tandem with Matrox ConvertIP two-way SMPTE ST 2110 converters. ConvertIP is plug-and-play with RED Connect for easy setup and integration of RED Connect cameras into any ST 2110 environment. Accessing high quality RED Connect ST 2110 JPEG XS feeds is as simple as adding a ConvertIP unit and a monitor to any network port and automatically connecting using NMOS. ConvertIP effortlessly converts HDMI or SDI signals to and from ST 2110, bridging the gap between traditional baseband video workflows and IP-based transmission. With Matrox ConvertIP, broadcasters can reduce the cost of ownership, ease switching requirements, and gain baseband monitoring flexibility and redundancy. “Integrating RED’s cinematic image quality into low-latency broadcast has just become extremely simple,” said RED Vice President of Product Management Jeff Goodman. “Compliance with SMPTE ST 2110 enables direct-from-camera integration into IP broadcast systems — as easy as connecting the camera into the IP network. With our cameras’ advanced capabilities, you can also generate multiple outputs, allowing for a range of video feeds from a single source. This can take the form of intra-frame capture separated into different feeds, or multiple visual perspectives generated from within the full resolution the camera provides.” Additionally, compliance with SMPTE ST 2110 is enabling other manufacturers to integrate RED’s camera technology into their own products faster and easier. Mo-Sys will be demonstrating its TimeCam product, which achieves zero delay for remote camera operators using RED Connect based on NVIDIA CUDA and NVIDIA Rivermax for uncompressed video streaming over SMPTE ST 2110, at booth 7.C16. RED will also be demonstrating direct-to-cloud workflows using RED’s built-in S3 integration with AWS at booth 5.C90 and 4.C13. Conference goers can ensure an opportunity to experience RED Connect and all its newest enhancements, by emailing REDConnect@red.com to schedule a demo. Attendees can take advantage of many opportunities throughout the show to get up close and personal with the entire lineup of RED cameras. On the show floor will be RED's flagship V-RAPTOR XL 8K all-in-one and production-ready camera body, as well as the smaller and more modular V-RAPTOR system. Both are available with 8K VV or 8K S35 sensors. Additionally, the 6K global shutter-equipped KOMODO and KOMODO-X camera systems will be featured throughout IBC in standard cinema, virtual production, and live broadcast demonstrations. Experience the RED cameras in different configurations and witness their incredible capabilities in diverse settings at the following booths: PARTNER BOOTH AWS — 5.C90 and 4.C13 FUJINON — 12.B20 CMOTION — 12.G34 SIGMA — 12.G57 VOCAS — 12.D25 MRMC — 12.D20 ASUS — 3.D57 BRIGHT TANGERINE — 0.A11 MO-SYS — 7.C16 LG — 3.C48 SKAARHOJ — 11.A30 CYANVIEW — 10.D31 MATROX — 7.B15 2.G106b VIZRT — 10.A41 and 2.G106 To add RED Digital Cinema to your IBC Show Planner, go https://show.ibc.org/. For more information on RED Connect, RED V-RAPTOR XL, V-RAPTOR, or RED KOMODO or KOMODO-X, visit red.com.

RED DIGITAL CINEMA® revealed its KOMODO-X camera today — the newest addition to RED’s popular KOMODO line of small form-factor 6K global shutter sensor cameras for cinema. KOMODO-X builds on the original KOMODO, multiplying frame rates and advancing dynamic range performance while expanding on the versatility of KOMODO. KOMODO-X features a next-generation 6K S35 Global Shutter sensor, expanding on the renowned KOMODO image performance with architecture improvements that allow for increased low-light performance and double the frame rates at 6K 80P and 4K 120P, making KOMODO-X an even more powerful tool for filmmakers across the industry. KOMODO-X is currently being offered in a limited-edition white ST beta version for $9,995 via RED.com or through any of RED’s premium resellers. The black production version of KOMODO-X will be available to order at the same price shortly after the ST beta program ends. The black production version of KOMODO-X will be sold with options for a pre-bundled starter pack or production pack. The KOMODO-X features improvements to seamlessly integrate into any professional workflow while still maintaining the legacy of the small KOMODO form factor at only 4”x4”x5” and 2.62 lbs. The new I/O array features 12G SDI, full-sized DC-IN, USB Type-C, and a phantom powered locking audio connector. In addition, an integrated 2.9” LCD allows for simplified control and image preview, and for even more precise monitoring, KOMODO-X also supports the direct-mounted DSMC3 7” Touch LCD. “We are excited to welcome the KOMODO-X into the new lineup of RED cameras, joining the original KOMODO and the rest of the DSMC3 family,” said RED President Jarred Land. “With its global shutter, increased frame rates and improved audio and power infrastructure, the KOMODO-X is our new all-around workhorse that fills a much-needed gap in our lineup between the 6K KOMODO and our mighty 8K V-RAPTOR.” The new system also shares many features with the flagship DSMC3 lineup, including compatibility with CFexpress, an integrated micro-V-Lock power plate, and a reinforced RF lens mount. The new micro V-lock power option allows for direct attachment of professional micro-V-Lock batteries without the need for adapters. Additional compatibility with the soon-to-be-released RED PRO I/O Module provides auxiliary power outputs and compatibility with full-sized batteries. The new module will be available when the production black version of KOMODO-X launches in V-lock or Gold Mount versions. In addition, a reinforced RF lens mount with locking mechanism on the KOMODO-X maintains the flexibility of switching between multiple lens mount types without a tool, while providing the stability and rigidity professionals need. KOMODO-X is fully compatible with /i PL lenses using the RED RF to PL adapters. Additionally, KOMODO-X provides a robust platform for shooters working in IP-based workflows. With integrated USB Type-C connection and built-in Wi-Fi, there are multiple options to remotely control the camera using RED Control or RED Control Pro, as well as IP media offloading using FTPS or in-camera cloud uploading functionality. KOMODO-X also supports frame-accurate PTP synchronization or tri-level genlock sensor sync with the ability to offset on the fly to support multi-camera LED volume productions. "We are looking forward to sharing the groundbreaking KOMODO-X with our community of filmmakers and partners,” adds RED Executive Vice President Tommy Rios. “This newest addition to the KOMODO family will be available globally through our network of premium dealers and respected rental houses or at RED.com. KOMODO-X, V-RAPTOR, V-RAPTOR XL, and KOMODO are an incredibly powerful and versatile lineup for filmmakers, and it is going to be exciting to see what the community of RED users continues to create with them.” KOMODO-X supports RED Connect, a licensed feature that allows for live broadcasting of 6K images directly from the camera over IP, expanding RED’s cinematic imagery into boundless new uses. RED also announced multiple new accessories that are compatible with the new KOMODO-X system and other cameras in the RED lineup. • REDVOLT NANO-V ($275) • RED Compact Top Handle provides a compact handle solution for KOMODO-X users ($539) • RED KOMODO and V-RAPTOR RF to PL with Electronic ND Filter Adapter Packs are compatible with either the KOMODO systems or V-RAPTOR and integrates the same precise electronic ND control used in the V-RAPTOR™ XL into a robust PL mount solution. ($3,500) • KOMODO-X is also compatible with many original generation KOMODO accessories, including KOMODO Wing Grip and Outrigger Handle. Customers can place orders starting today for the KOMODO-X ST, REDVOLT NANO-V batteries, RED Compact Top Handle, or the KOMODO or V-RAPTOR RF to PL w/ Electronic ND Filter Adapter Packs. The black KOMODO-X and its starter and production packs, the V-lock and Gold Mount versions of RED Pro I/O Module will all be available upon completion of the ST beta program. Stay in touch with RED social channels for more information on all the latest product releases.

Picture Shop, Streamland Media’s picture division, has expanded and extensively renovated its Sunset and Seward picture post production facilities, both located in the heart of Hollywood. The innovative transformations further underscore Picture Shop’s commitment to provide filmmakers globally with first-in-class technology and unmatched talent. “We’ve invested millions of dollars to ensure that we have world-leading technology and optimum environments in place for color grading, editorial, and workflow management, with the goal of serving our clients at the highest level,” says Picture Shop President Cara Sheppard. “We’ve spent our time focusing on their needs, putting the industry’s most advanced tools in their hands, all in a beautiful and stylish environment that fuels creativity. The team has done an incredible job and I look forward to seeing our clients’ work take flight.” Picture Shop’s facility at 6040 Sunset Boulevard sits in 115, 000 square feet located over six floors at the Sunset Gower Studio lot. With five color bays and 11 edit rooms included in the expansion, the Sunset facility now offers filmmakers five first-class D.I. theaters, 13 color bays, 22 online edit rooms and 55 offline rental rooms in a purpose-built, contemporary setting. Architect Bruce Bolander brought his extensive experience in design for the post production industry to the assignment. The common spaces and meeting rooms were also modified to make for a reinvented client experience. Ghost VFX, Streamland Media’s visual effects division, and Picture Head, Streamland Media’s marketing division, are co-located at the Sunset complex, which enables powerful collaboration. The divisions are all securely connected to locations around the world with access to the company’s exceptional global talent pool. Production, operations and support teams will be based at the facility, offering 24/7 client assistance. The building is also Streamland Media’s global headquarters. Nearby, Picture Shop’s facility located at 861 Seward has also been newly renovated. Long recognized as an A-list color grading environment in a smaller, boutique setting, the locations feature two state-of-the art grading theaters with a third theater opening this spring. All have direct high-speed connectivity to the main Picture Shop facility at Sunset, as well as Picture Shop’s facility in Burbank. Production, operations, and support teams at the facilities will be able to offer 24/7 client assistance. Picture Shop’s recent credits include Oscar®-nominees The Fablemans, Guillermo del Toro’s Pinocchio, Women Talking and the upcoming The Little Mermaid. In addition to its Los Angeles facilities, Picture Shop locations include New York, Toronto and Vancouver with international locations in the UK that include London, Manchester, Bristol, Wales and at Pinewood Studios.

RED DIGITAL CINEMA® will bring its latest innovations to the National Association of Broadcasters (NAB) Show April 15-19, including the RED Connect Module and RED Connect, a license-enabled feature that allows delivery of full resolution, live R3D video streaming via RED’s V-RAPTOR and V-RAPTOR XL camera systems. From cinema, virtual production and broadcast, to live events and sports, RED enables creators to complete their mission for incredible production. Conferencegoers can see the latest from RED throughout the NAB show floor, including: • B&H (Booth #C8317) Live Cinematic 8K with The Studio-B&H, in partnership with RED, HP and NVIDIA: The unique RED Connect live 8K workflow brings the power of R3D images to real-time 8K live output. This includes transferring a stream of 8K RAW files from the just-released RED Connect Module for V-RAPTOR cameras via a fiber connection to a high-performance HP Z8 Fury G5. An HP workstation will use a state-of-the-art NVIDIA RTX 6000 Ada to decode the stream and send live 8K images to an 8K display. Eliminate the need for traditional computing platforms: RED Connect will run in conjunction with an SNS/EVO storage server that will transcode R3D files to proxy codecs for direct access by any non-linear editing platform to the transcoded media. This eliminates the need for traditional computing platforms, creating an instant media networking environment and a one-of-a-kind workflow that is a revolution for incredibly efficient on-set workflows. • Magicbox (Booth #C8045) An interactive experience inside the world’s first mobile virtual production Superstudio™ with RED, Adobe, Pixera, SISU Cinema Robotics, DrivingPlates.com and Magicbox: Inside this unique, mobile LED volume, visitors will experience either a car process or a train process setup. Footage will be captured on RED KOMODO cameras mounted on SISU camera robots, then sent directly from camera to cloud using Adobe’s integrated software. Within moments, attendees will receive a message with a link to download an edited, shareable mini movie of their experience. • Microsoft (Booth #W1529) RED Connect and RED Connect Module Showcase: RED will highlight its innovative RED Connect and RED Connect Module in conjunction with Meta’s Open Video Pipeline (OVP) and Microsoft to enable the creation of an end-to-end live 8K60P streaming system for Meta Quest users and provide live streaming content producers unparalleled image quality and ease of use. OVP, a free and open-source reference, eliminates the need to use third-party cloud video infrastructure platforms for processing and packaging that degrade the quality and provides a full end-to-end signal flow design for 8k60+ live video streaming. With Microsoft, OVP can leverage the scalability, security, and reliability of the cloud to deliver high-quality video streams to end-users. A leader in digital cinema capture, RED’s V-RAPTOR, V-RAPTOR XL, KOMODO and the recently released RED V-RAPTOR S35 camera systems will be featured at various partner booths including B&H, ProTech (#C5350) and Videndum (#C5817). Launched last month, the new V-RAPTOR 8K S35 and V-RAPTOR XL 8K S35 features RED’s powerful, new S35 sensor with the same fast cinema-quality sensor scan time as its 8K VV counterpart. Twice as fast as previous generations, it maintains incredible dynamic range with 16.5+ stops and coverage for Super 35mm lenses. The V-RAPTOR XL 8K S35 also includes RED’s new integrated electronic ND system. Stay in touch with RED social channels for more information on exactly where you can check out a demo of RED Connect and other RED products at the 2023 NAB show. For more information on RED Connect, the RED Connect Module, V-RAPTOR or V-RAPTOR XL, visit RED.com or RED.com/RED-Connect or contact redconnect@red.com.

RED DIGITAL CINEMA® has announced the availability of the RED Connect Module for RED’s V-RAPTOR and V-RAPTOR XL cameras. The new module allows users to unlock the capabilities of up to 8K live cinematic streaming via the groundbreaking RED Connect solution. RED Connect enables users the ability to real-time stream RAW R3D files direct from the V-RAPTOR and V-RAPTOR XL camera systems over IP to a camera control unit (CCU), opening an extraordinary range of creative applications from live broadcast to virtual production to true 8K VR. The RED Connect Module is a robust and turn-key solution for customers to access the wide-ranging capabilities of RED Connect. With a compact form-factor and easy connectivity, the module attaches securely to the back of the V-RAPTOR or V-RAPTOR XL via the camera’s V-Lock battery mechanism. The high-speed data connection is created by connecting the module to the camera’s CFexpress media slot. The module allows for live streaming of up to 8K at 120FPS or 4K at 240FPS, as well as all other frame rate and resolution combinations offered by the camera. It also supports simultaneous streaming and recording from the CCU. The module offers Genlock and timecode synchronization of multiple cameras using PTP (SMPTE ST 2059-2) and up to 10 Gbps connection via a single-mode LC connector. “We are extremely excited to officially launch RED Connect and the new module,” said Jeff Goodman, RED Digital Cinema vice president of Product Management. “Live streaming of full-quality R3Ds over IP at every resolution and framerate, combined with RED’s sensor capabilities, creates an entirely new paradigm for content creation and broadcast. In early release testing, our customers have been blowing us away by what they have been able to produce. We’re excited to see what’s next creatively now that RED Connect’s flexible, open ecosystem is available to take content creation to the next level.” The RED Connect system extends the camera’s capabilities in virtual productions and new production environments such as live XR. Users can simplify their camera setup by reducing SDI cables, timecode and genlock devices, and other connections to a single ethernet cable to reduce points of failure. In the world of XR, users can stream 8K 60p content straight from the camera to any end device. The increased resolution pushes the visual experience into an entirely new immersive world, especially when viewed in a VR headset environment. RED’s innovative partners, including COSM, Media.Monks, and NVIDIA, have been deploying and testing RED Connect and the module in real-world applications over the past 18 months. "The opportunity to leverage uncompressed 8K end-to-end presents a tremendous opportunity for broadcasters, filmmakers and immersive video in particular," notes Lewis Smithingham, Media.Monks SVP of Innovation. "Uncompressed 8K delivers on the promise of VR, and when combined with stereo lensing, produces a sense of presence never experienced before." For varying use cases, the RED Connect Module can be deployed by adapting the CCU design. The flexibility of the CCU allows for real-time AI processing using RED’s SDK and NVIDIA professional GPUs for graphic intensive workflows with complete SMPTE 2110 implementation or options for one to two frames of latency for 8K and 4K IP broadcast and everything in-between. The RED Connect Module is priced at $14,995, with RED Connect licenses available for one year or as a perpetual license. A one-month option will be available soon. Pricing for the RED Connect feature varies based on the length of licensing agreement. RED will showcase RED Connect with the module at the 2023 National Association of Broadcasters (NAB) show, including demonstrations of live streaming of 8K60P to VR headsets enabled by Microsoft and Meta at the Microsoft booth (#W1529). Stay tuned to RED.com and RED’s social media channels for more information on exactly where you can check out a demo of RED Connect and other RED products at the 2023 NAB show. For more information on RED Connect, the RED Connect Module, V-RAPTOR or V-RAPTOR XL, visit RED.com or RED.com/RED-Connect or contact redconnect@red.com.

RED DIGITAL CINEMA® has officially announced the availability of the V-RAPTOR 8K S35 and V-RAPTOR XL 8K S35 featuring RED’s powerful, new S35 sensor. The new 8K S35 sensor has the same fast cinema-quality sensor scan time as its 8K VV counterpart, which is twice as fast as previous generations while maintaining incredible dynamic range with 16.5+ stops and coverage for Super 35mm lenses. The V-RAPTOR XL 8K S35 also includes RED’s new integrated electronic ND system, allowing for precise control of density in 1/4, 1/3, and full stop increments, providing never before seen exposure and depth of field control. “The V-RAPTOR and XL have produced some of the best imagery I’ve seen, and now that performance is available to the filmmakers who prefer the Super35 format,” says RED Digital Cinema President Jarred Land. “Not just from the users who love their vintage S35 lenses and the flexibility of 8K, but the shooters working in areas like wildlife filmmaking and broadcast television. We’re excited to start seeing what they create with the new S35 cameras.” RED had released a limited-edition beta V-RAPTOR RHINO 8K S35 in November of 2022, to support the amazing wildlife cinematography community who had been asking for a successor to the DSMC2 HELIUM workhorse. The V-RAPTOR 8K S35 and V-RAPTOR XL 8K S35 are available for order today directly via RED.com or through any of RED’s premium or authorized resellers. The standard V-RAPTOR 8K S35 is priced at $17,995 while the XL, which comes in either V-Lock or Gold Mount, is $34,995. Filmmakers now have even more choices when choosing the Super35mm format. V-RAPTOR 8K VV can capture Super35 in 6K, providing users with the flexibility of seamlessly switching between Large Format and Super35, or the new V-RAPTOR 8K S35 for 8K resolution with all Super35mm glass. By capturing the full 35 megapixels of 8K compared to the 20 megapixels of 6K, filmmakers gain the immense flexibility of 8K image capture while in the Super35mm format. The new systems serve a variety of productions –wildlife, live events, and traditional cinema. Wildlife and natural history shooters who often shoot hundreds of feet from their subjects will benefit from the V-RAPTOR 8K S35’s compact and flexible set-up while still allowing for wide-range zoom lenses. The S35 V-RAPTOR systems are a solution for broadcast productions striving for more cinematic imagery in final delivery. The new 8K S35 sensor provides shallower depth of field, slow-motion playback, and higher resolution in a format that supports the wide range of lenses required for live event coverage. Live 8K workflows using RED Connect — which is compatible with both V-RAPTOR and V-RAPTOR XL, unleashes the power of 8K in these environments, allowing for different framing to be pulled from a single camera position and controlled downstream for a more immersive production. As with the VV versions of these two cameras, they’ll be available in pre-bundled packs, which allow customers to get shooting right away. The standard V-RAPTOR is available in both a Starter Pack and V-Lock and Gold Mount versions of a Production Pack, while the V-RAPTOR XL is available in both V-Lock and Gold Mount versions of the Production Pack. For more information on RED V-RAPTOR XL 8K S35, or V-RAPTOR XL 8K S35, the pre-bundled packs, or other available accessories, visit RED.com or RED Premium Dealers. Filmmakers can also visit any one of the RED Premium Dealers across the globe to schedule a demo and learn more about the products. For more product information and additional technical specifications, visit RED.com.

Details Are Unveiled for Highly Anticipated Supersession Program February 19, 2023 (Los Angeles, Calif.) – The Hollywood Professional Association (HPA) Tech Retreat has announced details for the 2023 Supersession, which will present an original, immersive look at the remarkable creative and technical accomplishments of Avatar: The Way of Water. Highlighting the people, companies and workflows that helped create and deliver James Cameron’s brilliant vision to the many screens optimized for this next-generation cinematic experience, the Supersession will take place over a full day on Tuesday, February 21, and will be presented in a theater specifically designed for the event. The HPA Tech Retreat is set for February 20-23 at the Westin Mission Hills Golf Resort & Spa in Rancho Mirage, CA. The Supersession promises to deliver an immersive experience — with incredible visuals and unparalleled insights — from the moment attendees walk into the theater through the last question at the end of the day. Attendees will experience the Supersession in a purpose-built theater, featuring 4K, 3D, high frame rate, RGB laser projectors as well as conventional Xenon projectors, designed by our team to meet the filmmakers’ rigorous standards. The day’s program will include the following: Introducing Avatar: The Way of Water The audience will experience filmmaker-selected scenes from the film in 3D that will provide context for the discussions that follow. Welcome HPA Supersession Chair Loren Nielsen will set the stage for the day. Making Avatar: The Way of Water Attendees will get a look at the breakthrough live-action cinematographic process used for the film, including 48 and 24 fps, 3D capture and astounding underwater cinematography. Panelists include: Russell Carpenter, ASC, Director of Photography (via live remote) Robin Charters, 3D Camera Systems Workflow Engineer Simon Marsh, Sony Venice Product Director Tashi Trieu, Colorist Moderator: Joachim Zell, HPA Board Member and HPA Engineering Awards Committee Chair Planning and Supporting the Vision: The Studio Perspective Studios are accustomed to delivering tentpole films, but Avatar: The Way of Water is no ordinary tentpole. This session will explore how the studio teams worked with filmmakers to understand the timeframes, logistics and planning process that delivered one of the most complex films ever made. The conversation will include: Kim Beresford, Vice President, Integrated Planning & Motion Pictures Operations, The Walt Disney Studios Leon Silverman, HPA Board Member and Past President Delivering the Vision Avatar: The Way of Water revolutionized countless aspects of its production. To deliver the many optimized versions of this film under extremely tight time constraints, the vendors and partners who supported the studio and filmmakers also broke new ground in delivering this film to theaters around the world. Participants will learn about the herculean efforts and new technologies used to deliver the film. Panelists include: Kim Beresford, Vice President, Integrated Planning & Motion Picture Operations, The Walt Disney Studios Mark Arana, Vice President, Product Management, The Walt Disney Studios Bryce Alden, Vice President, Cinema Technology Worldwide, Deluxe Rich Welsh, Senior Vice President, Innovation, Deluxe Jon Gardner, Chief Operating Officer, Eikon Group Sean Romano, Senior Vice President, Eikon Group Andy Scade, Senior Vice President & General Manager, Worldwide Digital Cinema Services, Pixelogic Moderator: Loren Nielsen, HPA Supersession Chair Coming Up for Air: The Wrap Up of What We Learned Today At the end of what is expected to be an extraordinary day, Loren Nielsen and Leon Silverman will moderate a discussion of the audience’s takeaways. Nielsen, who leads the 2023 Supersession committee, commented “From the very outset of planning the Supersession, there was no film or topic as compelling as the creative technology and innovation behind Avatar: The Way of Water. Understanding how this gargantuan project was planned, managed and executed its creative vision is the sort of topic we love to get our heads around at the HPA Tech Retreat. It’s complex, beautiful, challenging and revolutionary. It’s an absolute honor to work with the team behind the scenes of delivering this movie.” The HPA Tech Retreat is known as the pre-eminent gathering of industry-leading thinkers and innovation-focused companies engaged in the creation, management and dissemination of content, bringing together a world-class roster of well-known and emerging leaders in engineering, technology, creativity and business. Further information regarding Tech Retreat sessions, activities, and participants can be found here. The HPA Tech Retreat benefits from the generous support of diamond title sponsor Adobe; platinum sponsors AMD, AWS, and NetApp Berkeley Communications; after party sponsor Ateliere; connectivity sponsor Sohonet; gold sponsor Blackmagic Design; silver sponsors 6P Color, Unreal Engine, NTC, HammerSpace, Keycode Media, and Puget Systems; event sponsors ARRI, Dell Technologies, Like Minded Media Ventures, Panavision, and Signiant; bronze sponsor ZEISS; and star sponsor Avid. Sponsors of the Supersession are Barco, Christie, GDC, and RealD 3D.

Picture Shop, Streamland Media’s picture division, announced that renowned artist Natasha Leonnet has joined its talent roster as a senior colorist. Leonnet, who earned an HPA Award for her contribution to “Spider-Man: Into the Spider-Verse,” brings over 20 years of finishing experience on award-winning features and episodics. “We are thrilled to welcome Natasha to the Picture Shop family,” says Picture Shop President Cara Sheppard. “She is a powerful addition to our exceptional team of artists. Bringing Natasha onboard further bolsters our commitment to offering filmmakers a roster of world class creative talent.” Leonnet most recently collaborated with Polly Morgan, ASC BSC on Columbia Pictures’ acclaimed feature “Where the Crawdads Sing” and with cinematographer John Guleserian on Universal Pictures’ “Cocaine Bear” and on Apple TV’s “Platonic.” Last year, her work could also be seen in Disney’s “Hocus Pocus 2” (DP Elliot Davis), Universal Pictures’ “Bros” (DP Brandon Trost), and Bleecker Street Media’s “Breaking” (DP Doug Emmett). In addition to her HPA Award win, Leonnet has received HPA Outstanding Color Grading nominations for her work on “Billie Eilish: Happier than Ever” (2022), “Candyman” (2021), “Mulan” (2020), “First Man” (2018), “Hidden Figures” (2016), “Whiplash” (2014), “Labor Day” (2013), “Love & Other Drugs” (2010), “Get Low” (2009), and “Defiance” (2009). She has compiled over 100 credits which include such notable titles as “Black Bird,” “La La Land,” “Sin City,” “Juno,” “Blood Diamond,” “Life Aquatic with Steve Zissou,” “Up in the Air,” “Star Wars: Episode II,” and the remaster of George Lucas’ “THX 1138,” among others. “I’m excited to be joining the talented group at Picture Shop,” says Leonnet. “I love being part of the storytelling community and look forward to collaborating with the global Picture Shop team to support filmmakers in pursuit of their vision.” Leonnet fell in love with filmmaking at early age and pursued her passion at Brown University where she earned a BA in Media/Culture. She got her start in Germany on commercials and music videos, then worked on features in Denmark, after which she was ILM’s first digital intermediate colorist. Most recently, she was a supervising colorist at Company 3. Leonnet will be based out of Picture Shop’s Sunset facility in Los Angeles and available via the company’s global network. Additionally, a custom grading environment is being built for Leonnet, equipped with Resolve, in Picture Shop’s Seward facility, also located in Los Angeles. Picture Shop’s global locations include Los Angeles, New York, and Atlanta in the U.S.; Toronto and Vancouver in Canada; and London, Manchester, Bristol, and Wales in the U.K. Picture Shop also has dailies outposts in U.S. production hubs, including Austin, Atlanta, New Orleans, and Albuquerque.

BURBANK, California (December 7, 2022) — FotoKem has announced that two talented final colorists, Jesús Borrego and Ara Thomassian, have joined FotoKem’s Keep Me Posted (KMP). Los Angeles native Borrego grew up loving art and photography, originally setting his sights on a career in music recording. After earning his degree in Sound Engineering, he made the shift to post production, handling film dailies at Technicolor Hollywood. While there, he became a color assistant, and learned the craft of color grading from senior colorists. Most recently, Borrego has worked as a colorist at Warner Bros. and Light Iron/Panavision. His recent credits include numerous features for Blumhouse (The Visitor, There’s Something Wrong with The Children, and Unseen), and episodic tv such as Crypt TV’s Stereoscope and Sacrifice for BET+. His previous credits include Bosch: Legacy (associate colorist) and Halt and Catch Fire (pre-colorist). Thomassian has over a decade of experience in color grading and is a member of the Colorist Society International. His recent credits include the documentaries Women in the Front Seat and Zero Gravity, with additional color credits spanning such diverse titles as Empire, Bosch, Next, American Horror Story, What We Do in the Shadows, and the Deadwood movie. Borrego and Thomassian join a roster of talented artists, producers and technologists based at KMP in Burbank. The FotoKem family of companies includes Keep Me Posted, L.A. Studios, Margarita Mix Hollywood, and Margarita Mix Santa Monica. Headquartered in Burbank, FotoKem also has facilities in Atlanta and New Orleans.

New Categories Include Outstanding Color Grading, Editing, and Sound for Documentary/Nonfiction and Outstanding Supporting Visual Effects The HPA Awards Committee has announced nominees for the 2022 HPA Awards creative categories. Recognized as the standard bearer for creative accomplishment and technical innovation, the HPA Awards honor outstanding achievement and artistic excellence by both individuals and teams. This year’s categories have been expanded to include Outstanding Color Grading, Editing, and Sound for Documentary/Nonfiction and Outstanding Supporting Visual Effects. The awards will return to the historic Hollywood Legion Theater for the second year on November 17, when the winners of the creative category honors will receive their awards in person. Tickets for the event are now on sale for HPA members and nominees at hpaonline.com. Launched in 2006, the HPA Awards creative categories recognize outstanding achievement in color grading, editing, sound, and visual effects for work in episodic, spots, and feature films. The 2022 HPA Awards Creative Category nominees are: Outstanding Color Grading – Theatrical Feature Sponsored by Picture Shop “The Batman” David Cole // FotoKem “Dune” David Cole // FotoKem “Nightmare Alley” Stefan Sonnenfeld, Adam Nazarenko // Company 3 “No Time to Die” Matt Wallach // Company 3 “Top Gun: Maverick” Stefan Sonnenfeld, Adam Nazarenko // Company 3 Outstanding Color Grading – Episode or Non-Theatrical Feature Sponsored by Picture Shop “1883 – 1883” Mitch Paulson // Company 3 “Better Call Saul – Carrot and Stick” Keith Shaw // Keep Me Posted “Billy the Kid – The Rattler” Mark Kueper // Picture Shop “The Marvelous Mrs. Maisel – How Do You Get to Carnegie Hall?” Steven Bodner // Picture Shop “Yellowstone – Half the Money” Bob Festa // Company 3 Outstanding Color Grading – Documentary/Nonfiction Sponsored by Picture Shop “Billie Eilish: Happier Than Ever” Natasha Leonnet // Company 3 “DIO: Dreamers Never Die” Frederik Bokkenheuser // Picture Shop “Harry Potter 20th Anniversary: Return to Hogwarts” John Persichetti // Picture Shop “Our Great National Parks – A World of Wonder” Dan Gill // Picture Shop “The Rescue” Stefan Sonnenfeld, Andrew Geary // Company 3 Outstanding Color Grading – Commercial Sponsored by Picture Shop Amazon – “Kindness, the greatest gift” Damien Vandercruyssen // Harbor Mango – “A Mediterranean Dream” Joseph Bicknell // Company 3 O2 – “The Everyhome” Fernando Lui // Marla Colour Grading Qantas – “I Still Call Australia Home” Mark Gethin // TRAFIK Zara – “Man Spring/Summer 2022” Tim Masick // Company 3 Outstanding Editing – Theatrical Feature Sponsored by Blackmagic Design “Belfast” Úna Ní Dhonghaíle, ACE “Encanto” Jeremy Milton, ACE “No Time to Die” Tom Cross, ACE, Elliot Graham, ACE “Tick, Tick... Boom!” Myron Kerstein, ACE, Andy Weisblum, ACE “Top Gun: Maverick” Eddie Hamilton, ACE Outstanding Editing – Documentary/Nonfiction – Theatrical Feature Sponsored by Blackmagic Design “Flee” Janus Billeskov Jansen “How to Survive a Pandemic” Tyler H. Walk, Adam Evans “The Janes” Kristen Huntley “Lucy And Desi” Robert A. Martinez “Navalny” Langdon Page, Maya Daisy Hawke “Summer of Soul” Joshua L. Pearson Outstanding Editing – Episode or Non-Theatrical Feature (30 Minutes and Under) Sponsored by Blackmagic Design “Barry – 710N” Franky Guttman “Barry – starting now” Ali Greer “Before Dawn, Kabul Time” Shannon Albrink “Fast Foodies – Nikki Glaser” Jason Le, Nathan Belt “Hacks – The One, The Only” John Daigle Outstanding Editing – Episode or Non-Theatrical Feature (Over 30 Minutes) Sponsored by Blackmagic Design “Black Bird – The Place I Lie” Rob Bonz “Moon Knight – The Goldfish Problem” Cedric Nairn-Smith “Severance – The We We Are” Geoffrey Richman, ACE “Stranger Things – Chapter Four: Dear Billy” Dean Zimmerman, ACE, Casey Cichocki “Succession – The Disruption” Brian Kates Outstanding Editing: Documentary/Nonfiction – Episode or Non-Theatrical Feature Sponsored by Blackmagic Design “Dean Martin: King of Cool” Tom Donahue “Harry Potter 20th Anniversary: Return to Hogwarts” Simon Bryant, Jim Clark, Will Gilbey, Jacob Proctor, Pablo Noé, Lior Linevitz-Matthews, James Collett, Bill DeRonde, Asaf Eisenberg, Tim Perniciaro “Prehistoric Planet – Coasts” Richard Ketteridge “Selena + Chef – Kwame Onwuachi” James Ciccarello, Blake Maddox “Spring Awakening: Those You’ve Known” Joshua L. Pearson Outstanding Sound – Theatrical Feature Sponsored by DTS “The Batman” William Files, Douglas Murray, Lee Gilmore, Chris Terhune // Pacific Standard Sound Andy Nelson // Warner Bros. Post Production Services “Dune” Mark Mangini, Theo Green, Doug Hemphill, Ron Bartlett, Mac Ruth // Formosa Group “Elvis” Wayne Pashley, Jamieson Shaw, David Lee // Big Bang Sound Design Andy Nelson, Michael Keller // Warner Bros. Post Production Services “Encanto” Shannon Mills, Nia Hansen, David E. Fluhr, CAS, Gabriel Guy, CAS Paul McGrath, CAS // Walt Disney Animation Studios “The Matrix Resurrections” Dane Davis, Stephanie L. Flack, Lars Ginzel, Matthias Lempert, Frank Kruse, Barry O’Sullivan // Warner Bros. Post Production Services Outstanding Sound – Episode or Non-Theatrical Feature Sponsored by DTS “Barry – 710N” Sean Heissinger, Matthew E. Taylor, Rickley Dumm // Warner Bros. Post Production Services Elmo Ponsdomenech, Teddy Salas // Sony Pictures Entertainment “Baymax! – Kiko” Shannon Mills, Cameron Barker, David E. Fluhr, CAS, Paul McGrath, CAS Kendall Demarest // Walt Disney Animation Studios “Candy – The Fight” Mark Binder, Elliot Hartley, Trevor Cress // IMN Creative “Euphoria – Stand Still Like the Hummingbird” Wylie Stateman, Anne Jimkes-Root, Austin Roth, Beso Kacharava, Bryant Fuhrman // 247SND “The Sandman – 24/7” Aaron Glascock, Christopher S. Aud, Curt Schulkey, Albert Gasser, Walter Spencer // Warner Bros. Post Production Services Outstanding Sound – Documentary/Nonfiction Sponsored by DTS “Becoming Cousteau” Tony Volante, Daniel Timmons // Harbor “The Biggest Little Farm: The Return” Sue Gamsaragan Cahill, Keith Rogers, Steve Bucino, Johanna Turner, Jane Boegel-Koch // NBCUniversal StudioPost “Endangered” Lewis Goldstein, Bennett Kerr, Jerell Suelto, Linzy Elliott, Alfred DeGrand // Parabolic “Prehistoric Planet – Freshwater” Richard Lambert // Films at 59 “The Princess” Andrew Stirk, Jack Cheetham, Simon Gershon, Mike Grimes // The Project Post Ltd Outstanding Visual Effects – Theatrical or Non-Theatrical Feature “The Batman” Dan Lemmon, Russell Earl, Anthony Smith, Malcolm Humphreys, Michael James Allen // Industrial Light & Magic “Doctor Strange in the Multiverse of Madness” Joel Behrens, Alexandre Millet, Kazuki Takahashi, Juan Pablo Allgeier, Bryan Smeall // Digital Domain “Doctor Strange in the Multiverse of Madness” Julian Foddy, Jan Maroske, Koen Hofmeester, Sally Wilson, John Seru // Industrial Light & Magic “Encanto” Scott Kersavage, Erin V. Ramos, David Hutchins, Christopher Hendryx // Walt Disney Animation Studios “No Time to Die” Mark Bakowski, Bruno Baron, Rob Shears, Steve Ellis, Denis Scolan // Industrial Light & Magic Outstanding Visual Effects – Episode or Series Season “The Book of Boba Fett – Complete Season” Richard Bluff, Abbigail Keller, Paul Kavanagh, Peter Demarest // Industrial Light & Magic Bobo Skipper // Important Looking Pirates VFX “Foundation – Season One” Danilo Ivanisevic, Anthony Mimoz, Matthieu Bidault, Maxime Laroche, Lee Brunet // Rodeo FX, Inc. “Foundation – Season One” Adica Manis, Chris MacLean, Mike Enriquez // Apple TV+ Chris Keller, Jess Brown // DNEG “Obi-Wan Kenobi – Complete Season” Patrick Tubach, Pablo Helman, Eddie Pasquarello, David Shirk, Christopher Balog // Industrial Light & Magic “Prehistoric Planet – Deserts” Elliot Newman, Kirstin Hall, Seng Lu, Matt Marshall, Andy Hargreaves // MPC “Stranger Things – Season Four” Julien Hery, Antoine Sitruk, François Couette Karim El-Masry, Philip Harris-Genois // Rodeo FX, Inc. Outstanding Supporting Visual Effects – Episode or Series Season “Love, Death & Robots – Night of the Mini Dead” Thomas Hullin, Josianne Côté, Tim Emeis, José Maximiano // Rodeo FX, Inc. “The Morning Show – My Least Favorite Year” Zsolt Poczos, Gary Romey, Jeremy Renteria, Sean Roth, Chris Stark // FuseFX “See – Rock-a-Bye” Chris Wright, Parker Chehak, Scott Riopelle Javier Roca // El Ranchito Tristan Zerafa // Pixomondo “Severance – Season One” Vadim Turchin, Nicole Melius, David Piombino, David Rouxel, Sean R. Findley // The Mill “The Terminal List – Transience” Jon Massey, Anthony Ceccomancini, Tom Reeder // Amazon Studios Josephine Noh // FuseFX Lawson Deming // Barnstorm VFX Winners of the coveted Engineering Excellence Award were previously announced and include Amazon Web Services for Color in the Cloud; Arri for REVEAL Color Science; LG Electronics for LG UltraFine Pro OLED Monitor; and Mo-Sys Engineering for LED Key. The HPA Lifetime Achievement Award will be presented to Kim Waugh, Executive Vice President Worldwide, Post Production Creative Services, Warner Bros. Discovery at the HPA Awards gala. The HPA Awards are made possible through the generous support of diamond title sponsor Blackmagic Design; award category sponsors DTS and Picture Shop; cocktail reception sponsors Fuse FX, Light Iron, and ZEISS; registration sponsor Creative Solutions; dessert reception sponsors Bubble Agency, MediaSilo, and Warner Bros. Post Production Creative Services Worldwide; and supporting sponsors Avid, AWS, Colorist Society, and Sohonet. HPA thanks its industry partners the American Society of Cinematographers, American Cinema Editors, and Cinema Audio Society for their collaboration on craft categories. HPA thanks judging hosts Fotokem, Pixelogic, and Deluxe Digital Cinema for use of their facilities. For sponsorship or program advertising opportunities, contact Joyce Cataldo at jcataldo@hpaonline.com. More information about the HPA Awards and the Hollywood Professional Association can be found at www.hpaonline.com.

RED DIGITAL CINEMA® officially announced the availability of the new V-RAPTOR XLTM 8K VV camera today during a livestream event. The V-RAPTOR XL system expands on the most advanced RED® camera platform ever, leveraging the current flagship V-RAPTOR 8K VV + 6K S35 multi-format sensor inside of a large-scale-production ready XL camera body. The all-new unified XL body is designed to support high-end television and motion picture productions. The V-RAPTOR XL features the same groundbreaking multi-format 8K sensor found inside the compact and modular V-RAPTOR body, allowing filmmakers to shoot 8K large format or 6K S35. Shooters have the ability to always capture at over 4K, even when paired with S35 lenses. The sensor boasts the highest recorded dynamic range and cleanest shadow performance of any RED camera. The V-RAPTOR sensor scan time is 2x faster than any previous RED camera and lets users capture up to 600 fps at 2K. The V-RAPTOR XL continues to feature RED’s proprietary REDCODE RAW codec, allowing cinematographers to capture 16-bit RAW, and leverage RED’s latest IPP2 workflow and color management. As with the RED KOMODO 6K and standard V-RAPTOR system, V-RAPTOR XL will continue to use the updated and streamlined REDCODE® RAW settings (HQ, MQ, and LQ) to enhance the user experience with simplified format choices optimized for various shooting scenarios and needs. The new XL system features an internal electronic ND system of 2 to 7 stops with precision control of 1/3 or 1/4 stop increments. It has dual-power options with both 14V and 26V battery compatibility, an interchangeable lens mount, wireless timecode, genlock, and camera control for remote and virtual production readiness. The XL incorporates a fully robust and integrated professional I/O array with front-facing 3G-SDI, 2-Pin 12V and 3-Pin 24V auxiliary power outputs, and a GIG-E connector for camera control and PTP synchronization. The unified XL system packs all of the above into a 7.5”x 6.5” body, weighing just under 8 pounds. “The XL is one of the most innovative cameras we’ve launched, and I’m excited to get it into filmmakers’ hands,” says Jarred Land, RED Digital Cinema president. “The XL builds off our mighty V-RAPTOR and adds more outputs, additional power flexibility and an incredible internal ND system. The entire RED team is so proud of the advancements this brings to cinematographers, and we can’t wait to see what they create.” The standalone camera system is available in both V-Lock and Gold Mount options and is priced at $39,500. The pre-bundled and ready-to-shoot Production Pack, also available now, is $49,995. The Production Pack includes: • V-RAPTOR XL camera system • DSMC3 RED Touch 7.0” LCD Monitor with DSMC3 RMI Cable (18”) and Sunhood • REDVOLT XL-V (or XL-G) Batteries RED Compact Dual V-Lock or Gold Mount Charger • RED Pro CFexpress 2TB cards and card reader • V-RAPTOR XL Top Handle with extensions • V-RAPTOR XL Riser Plate • V-RAPTOR XL Top and Bottom 15mm LWS rod support brackets • DSMC3 RED 5-pin to Dual XLR adapter RED worked closely with industry-leading partners such as Angelbird, Core SWX, and Creative Solutions to produce the purpose-built accessories included in the Production Pack, a majority of which will be available to order individually via RED or any authorized RED dealer. Director Zack Snyder, currently shooting his latest film with the V-RAPTOR sensor, got an early look at the new XL system. “The V-RAPTOR XL has everything we need,” notes Snyder. “We already knew the V-RAPTOR sensor produces great images, but with the added features that come with the XL, we're even more excited. The internal ND system has an amazing benefit to our production methodology. We're shooting wide open all the time, so that is just vital. The XL is an amazing studio camera. With technology like this, there are no excuses left, now it’s on you.” Additional features include intelligent focus options such as a phase-detect autofocus system. The XL’s all-new three-stage cooling system with thermoelectric heat exchanger will more effectively maintain sensor temperature in extreme environments. The new system also has continued wireless remote control via the free RED Control or the RED Control Pro apps. “We’re eager for filmmakers and our partners to get the V-RAPTOR XL system and see what it is capable of,” adds RED Executive Vice President Tommy Rios. “This expansion of the V-RAPTOR program, which is already the most powerful and advanced RED camera platform ever, will be available through our network of premium dealers and at the most recognized rental houses globally. Filmmakers can also purchase V-RAPTOR XL at red.com while being assisted by RED specialists. V-RAPTOR XL is a great addition to our already powerful lineup that includes V-RAPTOR and KOMODO.” For more information on RED V-RAPTOR XL 8K VV, or V-RAPTOR XL Production Pack, and the available accessories, visit red.com or RED Premium Dealers. Filmmakers can also visit any one of the RED Premium Dealers across the globe to schedule a demo and learn more about the products. For more production information and additional technical specifications, visit RED.com.

Top Honors Go to Amazon Web Services, ARRI, Inc., LG Electronics, and Mo-Sys Engineering August 11, 2022 (Burbank, CA) – The Hollywood Professional Association (HPA) Awards Committee has announced the winners of the 2022 HPA Award for Engineering Excellence. The awards will be bestowed at this year’s HPA Awards gala on November 17 at the Hollywood Legion in Hollywood, CA. The HPA Awards recognize creative artistry and innovation in the professional media content industry. A coveted and highly competitive honor, the Engineering Excellence Award rewards outstanding technical and creative ingenuity in media, content production, finishing, distribution, and archive. Submissions for the Engineering Excellence Award include a video presentation, followed by interviews with a distinguished panel of industry judges. HPA Awards Engineering Committee Chair Joachim Zell said, “The pace of innovation in our industry continues unchecked! This year, we received more submissions for Engineering Excellence consideration than ever before. It’s gratifying to see this record number of submissions, driven by a deep understanding of the true needs and desires of our industry, laying the groundwork for future progress even as they launch us ahead in the moment. Congratulations to the winners, and our deep respect for all of the entrants, who have contributed to the continued evolution of our industry.” The winners of the 2022 HPA Award for Engineering Excellence are: Amazon Web Services: Color in the Cloud Leveraging JPEG-XS, signals are compressed to be suitably transmitted over AWS Direct Connect, AWS VPN or the open internet while maintaining lossless or uncompromised image quality, resulting in a viable and scalable solution for high fidelity, visually lossless color from a cloud provider. Arri: REVEAL Color Science The ALEXA 35 REVEAL Color Science reveals improved dynamic range, color gamut, and superior rendering of skin tones and subtle colors. It separates looks from display transforms, to support dual monitoring of HDR and SDR on set, enabling more efficient grading for multiple deliverables in post production. LG Electronics: LG UltraFine Pro OLED Monitor The UltraFine OLED Pro EP950 reference grade HDR monitor meets color critical needs for content creation in cost-effective small-formats (32in & 27in). The RGB additive OLED UHD panel delivers close to 100% AdobeRGB and P3 coverage with peak luminance of up to 700 nits at 25% APL (HDR mode) and 250 nits full-field white. In-monitor 1D LUTs, 3D LUTs and 3x3 matrices allow accurate user calibration with Calman or LG software. Mo-Sys Engineering: LED Key LED Key makes VP filming affordable by allowing wide shot capture on small LED walls. Virtual Production LED wall based filming is great for mid and close up shots, but wide shots required set builders to build floor and wall extensions or huge LED walls, which increases cost and time. LED Key allows filming with much smaller walls or even projectors, enabling greater location flexibility for filmmakers. Four technologies followed closely, earning honorable mention: Carl Zeiss SBE, LLC (ZEISS CinCraft Mapper), Frame.io (Camera to Cloud), Glassbox Technologies (DragonFly virtual camera) and LucidLink (Filespaces). The Engineering Excellence Award will be presented at the HPA Awards gala on November 17th. Other special awards include the Judges Award for Creativity and Innovation, and The Jury Award for Restoration and Preservation. Kim Waugh, Executive Vice President of Worldwide Post Production Creative Services, will receive HPA’s Lifetime Achievement Award. Creative artistry will be recognized in fifteen categories, which includes new honors for nonfiction post production. HPA Awards tickets are currently available to HPA members only at hpaonline.com. Tickets sales will open to the general public in the coming weeks. The HPA Awards are made possible through the generous sponsorship of Awards Diamond Title Sponsor Blackmagic Design; category sponsors DTS and Picture Shop; cocktail sponsors Fuse FX, Light Iron, and ZEISS; registration sponsor Creative Solutions; dessert reception sponsors Bubble Agency and Warner Bros. Post Production Creative Services Worldwide; and supporting sponsors Avid and Sohonet. For sponsorship or program advertising opportunities, contact Joyce Cataldo at jcataldo@hpaonline.com. More information about the HPA Awards and the Hollywood Professional Association can be found at www.hpaonline.com.

Call for Entries for Creative Categories Now Open June 2, 2022 (Burbank, CA) – The 2022 Hollywood Professional Association (HPA®) Awards call for entries for creative categories has opened with dedicated categories for color grading, editing, and sound in documentary nonfiction. Submissions will be accepted until July 29. The only awards event encompassing the incredible breadth of talent behind the beauty and spectacle of media and entertainment, the HPA Awards are approaching two decades of recognition as the standard bearer for artistry behind the screen. This year, outstanding work in color grading, editing, and sound in documentary nonfiction (both features and episodic) will be recognized in its own categories, joining color grading, editing, sound, and visual effects in feature film, episodic, and commercials. Judged by experts and artists at the top of their careers, the HPA Awards commend the most compelling and important work from around the world. The HPA Awards will return to the Hollywood Legion Theatre on November 17. Details for the event will be revealed in coming weeks. To be considered eligible, work must have debuted domestically and/or internationally during the eligibility period, September 8, 2021 through September 6, 2022. Membership in the Hollywood Professional Association is not required, and work from outside of the United States is encouraged. Submissions are now being accepted in the following competitive categories: Outstanding Color Grading – Theatrical Feature Outstanding Color Grading – Episode or Non-Theatrical Feature Outstanding Color Grading – Documentary/Nonfiction Outstanding Color Grading – Commercial Outstanding Editing – Theatrical Feature Outstanding Editing: Documentary/Nonfiction – Theatrical Feature Outstanding Editing – Episode or Non-Theatrical Feature (30 Minutes and Under) Outstanding Editing – Episode or Non-Theatrical Feature (Over 30 minutes) Outstanding Editing: Documentary/Nonfiction – Episode or Non-Theatrical Feature Outstanding Sound (Design, Editing, Mixing) – Theatrical Feature Outstanding Sound (Design, Editing, Mixing) – Episode or Non-Theatrical Feature Outstanding Sound (Design, Editing, Mixing) – Documentary/Nonfiction Outstanding Visual Effects – Theatrical or Non-Theatrical Feature Outstanding Visual Effects – Episode or Series Season Outstanding Supporting Visual Effects – Episode or Series Season This year, the HPA Awards will also honor restoration with the new award for Outstanding Achievement in Restoration, a juried honor which draws attention to work from our industry that preserves our cultural heritage and enlivens our experience. Seth Hallen, HPA President and a founding member of the HPA Awards Committee, said: “As the HPA Awards have matured, we have seen the need to differentiate documentary nonfiction work from scripted. These new categories are in direct response to a significant industry trend, but also to our audience of creatives, who have submitted and promoted this category over the years. At the same time, we see such tremendous work being done in the field of restoration and preservation, and the value of that work to our industry is undeniable. It’s thrilling to announce these additional awards as we open the call for entries for creative categories for the 2022 HPA Awards. This year, as we continue to return to in-person celebration, I look forward to being together again to honor, connect, and enjoy a spectacular event.” The call for entries for the HPA Engineering Excellence Award, honoring products and processes representing outstanding technical and creative ingenuity in media, content production, finishing, distribution, and archive, opened last month and submissions will be accepted until June 24, 2022. The HPA Judges Award for Creativity and Innovation, a juried award, will be announced in advance of the gala. Both special awards, as well as the new award for Outstanding Achievement in Restoration, will be bestowed during the HPA Awards gala. The HPA Awards are made possible through the generous sponsorship of Awards Diamond Title Sponsor Blackmagic Design, sound category sponsor DTS, cocktail reception sponsors Fuse FX and ZEISS, and supporting sponsors Avid and Sohonet. For sponsorship or program advertising opportunities, contact Joyce Cataldo at jcataldo@hpaonline.com. Complete rules, guidelines and entry information for the creative categories and all of the HPA Awards, as well as a list of previous winners, are available at hpaonline.com.

Sohonet, the Emmy®-winning global experts in connectivity, media services and network security for the media and entertainment industry, is introducing ClearView Flex Glow; the ultimate real-time remote collaboration solution featuring High Dynamic Range (HDR) color for creatives at the 2022 Hollywood Professional Association (HPA) Tech Retreat. “Adding HDR to our streaming capabilities gives filmmakers a new set of creative choices for their workflows”, says Sohonet CEO Chuck Parker. “ClearView Flex Glow opens up a whole new way of storytelling with a depth of color experienced in real-time, giving creators a superior ‘over-the-shoulder’ viewing experience.” First in the market, ClearView Flex Glow supports HDR streaming in real time with ultra-low latency, 5.1 surround sound audio. Glow provides storytellers with sub-100 ms remote live streaming capability, with up to 40 viewers in live review with ‘rock solid’ frame rate, color and audio accuracy including HDR. It supports HD and 2K DCI resolution in Rec 709, P3 and Rec 2020 color space with 10-bit color depth for capture and viewing. Currently, Glow supports HDR on multiple devices including the iPad Pro and iPhone 12/13. Support for Apple TV will be available soon. ClearView Flex Glow, and the entire ClearView family of products offer studio grade security and are regularly audited by industry approved third-party security auditors. Security is built in at every level including end-to-end encryption with air-gapped security for pre-release workflows. Sohonet, a sponsor of the HPA Tech Retreat in Palm Springs, Calif. (Feb. 21 -24), will spotlight Clear View Flex Glow for the first time during the Tech Retreat at the Innovation Zone. For more information about Sohonet ClearView Flex Glow, visit www.sohonet.com