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  1. 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.
  2. Hey all. Happy holidays and happy new year. 2020 is now hindsight (thank god). First off, I have a lot of reverence for what you guys do. Many of you on this forum I'm a huge fan of, so it's an honor even in a small way to be writing this. So thanks for listening. Overwhelmed by choice overload. I tend to be a little too good at matching pros with cons and vice versa, so this amount of indecision (and the self-awareness about the indecision) has been difficult. Hence the need to reach out. I'll cut to the chase since I don't want to waste anybody's time. I'm looking to own a camera, thats what this is about. I've got enough $ to own a Komodo production kit with tax. I'll outline choices at the end. The purpose is for me to just feel empowered to get out and make films and work as a director / operator full time versus a owner / op who just rents his camera out to DP's other peoples stuff primarily. I do that for money occasionally the same way I color or edit or crew for people occasionally but my full step forward is towards going from one project to the next on my portfolio. Until then, here's a lot of ridiculous background and way too much information. I'm a filmmaker who prefers self-operating, but mainly for the intimacy and connection with the actors and for how it helps me concentrate, not because I consider myself a proper image-maker at heart, like I'm sure some of you do. My passion is mainly storytelling, not gear, though I'm well capable of digging into deep rabbit holes of technical details if it means getting exactly what I want when I want it. Background: age 25, Burbank-native, editor primarily (that's certainly where most of my superficial skills lie) I'm experienced in that I've made shorts since I was 10 years old. My first feature did get distributed by Gravitas and won a lot of awards - so I'm not totally untalented. But it was exhausting getting there. And in general, I hate the word "content" and have no intention of being a "content creator" at all, ever. Just want to keep telling stories in the way that feels truest to my heart, and make the strongest step forward. Life doesn't make a lot of sense when I'm not making films. And I need to make films right now. What's been hard is not having anything to express myself with. Like many of you, I'm relegated to primarily being at home, needing to channel energy. I've got stuff to shoot, I'm always writing and working with friends on writing films. I told myself I will just rent, that the entirety of hollywood infrastructure is built upon the idea that you don't own your own gear - that its better to just own lenses, which I still do. Logically, I still believe that. Emotionally though, whats been hard is not having that tool to express myself with. I know that theres an argument to be made for todays infrastructure being different from shooting 10 years ago, that being an owner operator now especially as a young person is fairly valuable. I also know its the story, performances, composition, movement, and lighting (in that order) that makes it, not the gear. Furthermore, Steve Yedlin's right. Camera's today are really just data collection tools. Even film cameras are glorified boxes the film goes through. I like being a colorist and relish the freedom it gives me. But its almost a separate part of my brain. The part of me on set thats connected to the actors and the story, that's the part I wanna grow. But still for me, film nearly always looks better. I have been fooled a few times, but only when they shot on anamorphic lenses. Linus Sandgren isn't wrong about the distortion of those being almost necessary in a twisted sort of way. His work, plus Maniac, 10 Cloverfield Lane, and a few others I find truly exceptional. If I'm to collect data, then the data I actually care about (which makes film superior) is the motion cadence of a global shutter, the ability to sandblast highlights and still have it look cool, and the ability to oversaturate or shoot in harshly oversaturated environments. That's the data set I'm looking for in a camera to own. Recently wrapped up a short on the Red Komodo which I made for an AFI application. Super happy with the image and versatility of R3D, which is inspiring in how it almost dares you to challenge it and push it to its limits. I love that you can beat the tar out of it in post and it never bands or splotches or falls apart. We even did a filmout from the R3D files to a 16mm sized portion of the negative at Fotokem, just to see how close Komodo could get to film, since its the first camera with films dynamic range and a global shutter. Astonished by the results - so much so I genuinely think I could film out everything I've ever done and get the best of both worlds (Most of my heroes are people who utilize the best of both, or create an invisible third option by kicking down the door) Still, something about shooting digital with that camera did not feel right to me. Could have been the stress of mounting COVID productions in general being a huge hassle, but also (while I appreciate lightweight cameras) I've never been a fan of feeling like I'm holding a DSLR. (Though BOY is it nice when you wanna shoot illegally. Had the Canon C70 existed before, my feature would have been completed considerably faster.) Tested the Varicam LT for the short first because that's been my favorite look on digital (perfect mixture of RED's cutting edge and Arri's painterly qualities) but weirdly, wasn't as good as Komodo, was heavy, and was bothered by the rolling shutter on that as well. Which was disappointing, because shooting 3200 iso in camera and NDing for exposure compensation is the closest I've seen to film grain yet. Plus Varicam colors are more Eterna than Vision3, and I'm definitely more of an Eterna guy. I've used lots of cameras, but owned only 2. HVX200 was the camera I learned on and in some ways it spoiled me. Got used to global shutter and undercranking & overcranking and timelapse photography and thick viewfinders and shooting to tape and it's been hard finding cameras that feel that level of satisfying. Owned a c100, but was never happy with it. Most of shooting my feature was about pushing that thing to its absolute limit in every conceivable way (to the point it stopped turning on altogether). After that, I owned the S1H for a bit, mainly because of my history with the HVX200 & how much I liked the Varicam. Sold it. Got WAY too into the whole idea of kitting it out to oblivion, trying to turn it into something its not - and became unhappy. Image was lovely but HATED the rolling shutter. Any readout 15ms or greater seems similar to the Haas effect in acoustics, where you don't truly perceive it until its in the 15ms to 30ms range. Though our eyes are way sharper (hehe) than our ears, so its probably more like 7ms or greater (at least for me). I've used lots of cameras, owned only a few. Mainly, the c100 Mark I, and the S1H for about 6 months. Unhappy with both. As badly as I want to like the EVA1, the image is beautiful, its the only camera I've ever used which actually enrages me ergonomically. That horrible plastic body and screen and clickless dial which makes menus impossible to navigate. Blackmagic is a fascinating player in the scene, and has the best menu system ever but I hate how every college kid or person my age uses them. I know you can color them to look however you want but I hate having to give myself so much to do, and I hate their lack of quality control. My choices so far have boiled down to these 3. I'm discounting options which I believe will be useless in 10 years. Komodo seems of all the new cameras to be the one best primed for the test of time, and the Alexas proven her stripes, and film, well, film is film. I want this to be (if at all possible) the last time I purchase a camera, at least for a decade. I also hate how every manufacturer uses the word FUTUREPROOF. 1. Red Komodo. Have the experience with it, love the image, and of course - the global shutter innovation makes it (to me) the most exciting digital camera in the world at any price level. I know people do get hired because of the Red bias, too, which is nice. Unless I get super creative though, it's gonna be forever till they actually get in stock. But: I can afford to get a decent run and gun kit, and after the initial charges, I'd never have to pay again to create, and I'd have the closest approximation to film motion cadence on a digital sensor. With that ND wheel from Kippertie it'll be great. Genuinely, I do feel its the ultimate tool for someone my age in the year 2020, if properly utilized (and yes, utilized in a way that's different from REDs design purpose). To me, it seems like Reds Mini. The Alexa Mini was a drone camera that became an A cam, too. I don't like having to lean down and look at that tiny screen, but part of me also feels this may help my compositions, and force concentration on framing better. I know I do function better with some limitations. All in all, I love the Komodo in spirit, mainly because it appeals to the more "fly by the seat of my pants" part of me, the one that believes in taking risks and stuff. The young punk, lol. 2. Alexa Classic. I don't need the resolution (2K's my favorite) and despite me hating the vanilla-ness of that choice - there is part of me that always thought, wouldn't it be cool to own that camera and really do some more extreme photography? Overexpose, underexpose, get grainy and nasty - i do have a little devil in there somewhere that feels he would enjoy that. Plus, its the standard. Menus are easy. Love the EVF. Much closer on paper to my experience with the HVX200 than the Red Komodo. Theres an appeal in that to me being that its the closest thing in digital to cutting out the bullshit. I've heard DP's articulate how that camera more than any other just allows them to focus on their creativity and their storytelling, and not worry about anything else. I do prefer the Varicam look over the Alexa, and the built in ND's. But the rolling shutter bugs me. And an LT is pretty hard to come by used. So a classic EV seems the most compelling option in the realm of "can't go wrong". But theres self-conciousness about wanting something so "safe" 3. Shoot film. My favorite look, the look I grew up on, is Super 16mm. I dream in 16mm, honestly. Specifically, the format from the 90s forward. Nearly all of my style comes in some way from Super 16mm or super grimy 35mm. Especially in 2020 with the advances in scanning I find the look to immediately be more like the 35mm of the 1970s. It's also the only format I've never seen any successful digital emulation of. Closest was operation avalanche. And that's because they actually filmed out, so it WAS 16mm. I know there's Arri SR's for decent prices, and CP16s, and Eclairs, and despite that essentially being a form of sinking myself into an endless money pit, buying into a dead technology, etc - I've also found more community talking to film people than any other group, and theres a general focus on creativity that seems harder to find in digital (though I know it exists). Only shot on a Bolex and a super 8 camera before so I'd be a huge noob. But I loved doing it. And unquestionably I know it would force me to grow the quickest. I'm attracted to the romance of it, and the idea of proving myself on it doesn't seem scary. What I know I'll miss is getting to do multiple takes with the actors, because I adore that experience of discovering things with them in the process, and not just shooting coverage. (BTW, I loathe coverage. I hate it. ) Nearly everyone I know tells me its a terrible idea to own a film camera and shoot on film. I can't logically disagree, but emotionally I've been torn. One of the best arguments I've ever heard for shooting film ironically came from Michael Cioni, talking about how film still is the only capture medium with a true 1:1 quality ratio (at least when captured correctly.) That idea of pure timelessness does quite a lot for me, but I'm very much not a believer in the sake of nostalgia for the sake of nostalgia. Filming out to a grainier portion of the intermediate stock looks more filmic than any filmout I've ever seen, and still preserves the spontaneity and magic of film, without any of the limitations or sacrifices. Especially if you shoot 35mm stills on set with the same lenses using Vision3 stock, you've got access (roughly) to the filmic color space that would be present on set, too, not just that of the final "patina" or "texture". Grain is grain, its cool but not everything. Color to me is everything. And for the record, while I'm on the subject of film, the only place digital always falls short for me is outdoors. Something about the harshness of the sun and the slightly blown highlights and halation that comes from shooting exteriors on film always feels like my own eyes. In LA too everything is always too sunny, I like how in film, theres almost that flickering red that you get in your eyes when you've looked at the sun too long, I love how film behaves a similar way. To me, so much expressiveness comes from being able to accurately capture the environment. I love how Elswit shot digital at night and film during day. If I could, I'd do that every day for every shoot, until a solution exists that trumps either of them in isolation. But again, too much wishful thinking doesn't do anyone any good. Anyone who made it this far, I'd love to know your unsanitized thoughts. There's no wrong answers, nor is there a perfect choice (as much as I'd like there to me). What I'm looking for is the right set of compromises, Thanks in any case for listening. Hope you're staying safe out there. Soren
  3. RED claims they "invented" the RED MINI-MAG device (here: http://www.reduser.net/forum/showthread.php?147759-Cheap-third-party-Red-MiniMag-replacement-JinniMag&p=1649970&viewfull=1#post1649970) And they developed their own IP and SSD firmware for it, and that RED MINI-MAG has significantly less card errors than other companies using even reputable generic media, (and so theirs is superior to a generic one) and RED spends millions of dollars testing, certifying and QCing every media they ship. (here: http://www.reduser.net/forum/showthread.php?147759-Cheap-third-party-Red-MiniMag-replacement-JinniMag&p=1649669&viewfull=1#post1649669) Red claims the RED MINI-MAG device is made in USA. (footnotThis) is a link to Micron's response regarding RED claims for having a customised firmware on the RED MINI-MAG device. type=3&theatere
  4. RED DIGITAL CINEMA® announced today that its award-winning HELIUM® 8K S35 and GEMINI® 5K S35 sensors will be incorporated into the RED RANGER® camera ecosystem. These two new alternatives create a robust lineup for creators who prefer an integrated, all-in-one system to the more modular RED DSMC2® camera. The RANGER HELIUM 8K S35 and RANGER GEMINI 5K S35 is available now via RED’s global network of resellers, participating rental houses, and directly through RED. The cameras will be on display for the first time at IBC in the RED meeting room on the fourth floor of the Elicium at the RAI Amsterdam, from September 13-17. Designed to meet the needs of high-end productions, the RED RANGER MONSTRO 8K VV has been well received by cinematographers since its launch earlier this year, and remains a rental house-only product. All three sensor variants of the RED RANGER camera system include the same benefits of the compact, standardized camera body, weighing around 7.5 pounds (depending on battery). The system can also handle heavy-duty power sources to satisfy power-hungry configurations, and boasts a large fan for quiet, more efficient temperature management. The RED RANGER camera system consists of three SDI outputs (two mirrored and one independent) allowing two different looks to be output simultaneously; wide-input voltage (11.5V to 32V); 24V and 12V power outs (two of each); one 12V P-Tap; integrated 5-pin XLR stereo audio input (line/mic/+48V selectable); as well as genlock, timecode, USB, and control. Both V-Lock and Gold Mount battery options are supported. As with all current RED cameras, the RANGER can simultaneously record REDCODE RAW plus Apple ProRes or AVID DNxHD or DNxHR at up to 300 MB/s write speeds. It also features RED’s end-to-end color management and post workflow with the enhanced image processing pipeline (IPP2). RED now offers two separate but equally robust product lineups that give content creators more creative choices. The DSMC2 ecosystem continues to provide the most dynamic and modular cinema camera for users who value maximum flexibility, allowing their imaginations to run wild with configuration options. RED RANGER is the perfect option for those that prefer a less complex and more standardized alternative. “In collaboration with rental houses to bring the RANGER MONSTRO to market, we have heard great feedback from customers, inspiring these two new variants,” said RED Digital Cinema President Jarred Land. “We’re excited to offer the RANGER line-up to a wider variety of professional productions and look forward to seeing the amazing images that are created.” RANGER HELIUM and RANGER GEMINI ship complete with: • New Production Top Handle • Shimmed PL Mount • New LCD/EVF Adaptor D with improved cable routing when used on the left side of the camera • New 24V AC power adaptor with 3-pin 24V XLR power cable, which can also be used with 24V block batteries • Lens mount shim pack • Compatible Hex and Torx tools Additionally, RED plans to introduce Canon EF Mount versions of both RANGER HELIUM and RANGER GEMINI later this year. Pricing for the two new variants is $29,950/€27,450/£24,750 for RANGER HELIUM and $24,950/€22,850/£20,650 for RANGER GEMINI. Go to www.red.com/red-ranger for more information, or visit your local RED Authorized Dealer.
  5. RED Digital Cinema® released its RED R3D® SDK and accompanying REDCINE-X PRO® software with accelerated decode and debayering on NVIDIA CUDA® platforms. By offloading the compute-intensive decoding and debayering of RED R3D files onto one or more NVIDIA GPUs, real-time playback, edit and color grade of 8K footage is now possible. Benefits and efficiencies of this new software-hardware combination during the post-production process include: • 8K real-time 30 fps or greater playback performance • Up to 10x faster transcoding, depending on the format and content • Improved efficiencies and quality control within the content review process • Creative freedom using flexible R3D files instead of proxy files 8K performance is available with NVIDIA Quadro® RTX™ 6000 and 8000, GeForce® RTX™ 2080 Ti and TITAN RTX™ GPUs when coupled with a moderately configured PC. Creators can achieve additional performance improvements with multi-GPU configurations and may see noticeable gains even with older NVIDIA GPUs. Also, new NVIDIA RTX laptops from the world’s leading computer manufacturers, including Razer, Acer, Alienware, ASUS, Dell, Gigabyte, HP, Lenovo, MSI and Samsung, provide real-time playback at up to 8K and offer flexibility in choosing the right tools to fit a variety of budgets. Support from major NLEs and other SDK integrators is expected soon.
  6. RED Digital Cinema® will present a Masterclass featuring Oscar®-winner Guillermo Navarro, ASC at the upcoming BSC Expo in London. Navarro will be discussing his approach to cinematography in the digital age during the seminar that will take place Saturday, February 2, at 16.00. BSC Expo 2019 runs Feb. 1-2 at the Battersea Evolution. Navarro won the Academy Award® for Best Cinematography on Pan’s Labyrinth. His impressive credits also include Desperado, From Dusk Till Dawn, Jackie Brown, Hellboy, Night at the Museum, and Pacific Rim, among many others. He has worked in Hollywood since 1993 and is a frequent collaborator with Guillermo del Toro and Robert Rodriguez. Born and raised in Mexico City, Navarro was a still photographer in his native country before segueing into shooting documentaries and commercials, and directing television. Most recently, he completed principal photography on The Voyage of Doctor Doolitle, slated for release in 2020, using the RED HELIUM 8K S35 sensor. Over at Stand 334, RED will showcase its latest sensor technology, including the MONSTRO® 8K VV and GEMINI® 5K S35. MONSTRO is an evolutionary step in large-format sensor technology with improvements in image quality including dynamic range and shadow detail. GEMINI leverages dual sensitivity modes to provide creators with greater flexibility using standard mode or low-light mode. RED will also demonstrate a real-time 8K workflow using a new REDCODE RAW SDK powered by the NVIDIA QUADRO RTX 6000 GPU. By offloading the compute-intensive decoding and debayering of REDCODE RAW footage onto a single NVIDIA GPU, real-time play back, edit and color-grade of RAW 8K footage is possible. Additionally, RED will display its newest accessories. The new RED® DSMC2 Touch 7.0” Ultra-Brite LCD Monitor is a robust, optically-bonded touchscreen with Gorilla® Glass that provides an intuitive way to navigate menus, adjust camera parameters, and review .R3D clips directly out of the camera. It offers a brighter, high-definition viewing experience for recording and viewing footage on DSMC2 camera systems, even in direct sunlight. The DSMC2 PRODUCTION MODULE mounts directly to the DSMC2 camera body and incorporates an industry standard V-Lock mount with integrated battery mount (DSMC2® Gold Mount will be available soon) and P-Tap for 12V accessories. The module delivers a comprehensive array of video, XLR audio, power, and communication connections, including support for 3-pin 24V accessories. It’s also available as a kit.
  7. Today, RED Digital Cinema® introduces the DSMC2® Touch 7.0” Ultra-Brite LCD Monitor to its line of innovative camera accessories. The new RED® DSMC2 Touch 7.0” Ultra-Brite LCD Monitor is a robust, optically-bonded touchscreen with Gorilla® Glass that provides the most intuitive way to navigate menus, adjust camera parameters, and review .R3D clips directly out of the camera. It offers a brighter, high-definition viewing experience for recording and viewing footage on DSMC2 camera systems, even in direct sunlight. A 1920x1200 resolution display panel provides 2,200 nits of brightness to overcome viewing difficulties in bright outdoor environments, and the high pixel density (at 323 ppi) and 1200:1 contrast ratio deliver exceptional image quality. The Ultra-Brite display mounts to RED’s DSMC2 BRAIN®, or other 1/4-20 mounting surfaces, and provides a LEMO connection to the camera, making it an ideal monitoring option for gimbals, cranes, and cabled remote viewing. Shooters can use a DSMC2 LEMO Adaptor A in conjunction with the Ultra-Brite display for convenient mounting options away from the DSMC2 camera BRAIN. A demonstration of the new monitor, priced at $3,750 (U.S.), can be seen here: https://youtu.be/sF2PmdoAZoM Link to Ultra-Brite images here.
  8. RED Digital Cinema announced it is further simplifying its product portfolio with the availability of the DSMC2® DRAGON-X™ 5K S35 camera. RED also announced the DSMC2 PRODUCTION MODULE and DSMC2 PRODUCTION KIT, which are coming soon in early 2019. The DSMC2 DRAGON-X camera uses the award-winning DRAGON sensor technology found in many of RED’s legacy cameras with a evolved sensor board to enable RED’s enhanced image processing pipeline (IPP2) in camera. In addition to IPP2, the DRAGON-X provides 16.5 stops of dynamic range, 5K resolution up to 96 fps in full format and 120 fps at 5K 2.4:1. Consistent with the rest of RED’s DSMC2 line-up, DRAGON-X offers 300 MB/s data transfer speeds and simultaneous recording of REDCODE® RAW and Apple ProRes or Avid DNxHD/HR. The new DSMC2 DRAGON-X is priced at $14,950 / €13,800 / £12,100 and is also available as a fully-configured kit priced at $19,950 / €18,400 / £16,150. The kit includes: • 480GB RED MINI-MAG • Canon lens mount • RED DSMC2 Touch LCD 4.7” Monitor • RED DSMC2 Outrigger Handle • RED V-Lock I/O Expander • Two IDX DUO-C98 batteries with VL-2X charger • G-Technology ev Series RED MINI-MAG Reader • Sigma 18-35mm F1.8 DC HSM Art Lens • Nanuk heavy-duty camera case Both the camera and kit are available today at red.com or through RED’s Authorized Dealers. RED also announced the new DSMC2 PRODUCTION MODULE. Designed for professional shooting configurations, this accessory mounts directly to the DSMC2 camera body and incorporates an industry standard V-Lock mount with integrated battery mount and P-Tap for 12V accessories. The module delivers a comprehensive array of video, XLR audio, power, and communication connections, including support for 3-pin 24V accessories. It has a smaller form factor and is more lightweight than RED’s REDVOLT EXPANDER with a battery module. The DSMC2 PRODUCTION MODULE is available for order and is expected to ship in early 2019 for $4,750 / €4,350 / £3,800. It will also be available as a DSMC2 PRODUCTION KIT that will include: • DSMC2 PRODUCTION MODULE • PRODUCTION HANDLE • DSMC2 PRODUCTION TOP PLATE The DSMC2 PRODUCTION KIT is also available for order and is expected to ship in early 2019 for $6,500 / €5,950 / £5,200. SCARLET-W owners may upgrade to DSMC2 DRAGON-X for $4,950 / €4,600 / £4,050 through RED Authorized Dealers or directly from RED.
  9. RED Digital Cinema will showcase its DSMC2™ camera line-up at IBC in Amsterdam from September 14 - 17. Located in Hall 13, Elicium Tower, 4th Floor, RED will feature its DSMC2 camera brain with three sensor options – MONSTRO 8K VV, HELIUM 8K S35 and GEMINI 5K S35. Additionally, RED will demonstrate an 8K workflow, covering 8K REDCODE RAW, HDR, and its enhanced image processing pipeline (IPP2). RED experts will be available to answer questions and offer insight into the possibilities for efficiently producing 8K projects. The DSMC2 camera BRAIN includes high-end frame rates and data rates regardless of the sensor chosen. RED’s modular camera system allows a shooter to configure a fully operational camera setup to meet their individual needs. RED offers a range of accessories including display and control functionality, input/output modules, mounting equipment, and methods of powering the camera. The DSMC2 camera is capable of up to 60 frames per second at 8K, offers 300 MB/s data transfer speeds, and simultaneous recording of REDCODE® RAW and Apple ProRes or Avid DNxHD/HR. The flexibility of RED’s modular camera designs with accompanying accessories and integration solutions can also be seen on the show floor through a variety of manufacturers, including Sigma, Cooke, Zeiss, Angenieux, Schneider Optics, Teradek, CoreSWX, Fujifilm and Motion Impossible. Projects shot on RED include the upcoming Voyage of Dr. Doolittle (Guillermo Navarro, ASC), A Million Little Pieces (Jeff Cronenweth, ASC), Maleficent 2 (Henry Braham, BSC), and King of Thieves (Danny Cohen, BSC), among many other productions, including Eighth Grade (Andrew Wehde), Mindhunter (Erik Messerschmidt), Stranger Things (Tim Ives), Godless (Steven Meizler), GLOW (Christian Sprenger), and House of Cards (David M. Dunlap), to name a few.
  10. RED Digital Cinema will be at Cine Gear Expo this year in Los Angeles at The Studios at Paramount from June 1-2. Located at Booth S101 in Stage 17, RED will showcase its DSMC2™ camera line-up featuring its premier sensors, MONSTRO 8K VV, HELIUM 8K S35 and GEMINI 5K S35. Additionally, RED will demonstrate 8K workflow, covering 8K REDCODE RAW, HDR and image processing pipeline (IPP2). RED will also be taking attendees behind the scenes on Christopher Probst, ASC’s new short film, Epoch. On June 1 at 12:45pm and June 2 at 11:45am, Probst will break down his approach to shooting the short film, set in a post-apocalyptic world of harsh, dusty exteriors and dark desolate nights. Probst and director Rich Lee relied on the sensor qualities of the RED MONSTRO to deliver a visually compelling 13-minute narrative finished in 4K. Both sessions will take place in the Sherry Lansing Theater on the Paramount lot. For more information, visit http://www.red.com/cinegear-2018.
  11. RED Digital Cinema is advancing its product portfolio of high-quality cameras and sensors with a focus on simplicity, price and quality for customers. Beginning today, RED’s camera line-up will be modified to include one DSMC2 camera BRAIN with three sensor options - MONSTRO 8K VV, HELIUM 8K S35 and GEMINI 5K S35. The single DSMC2 camera BRAIN includes high-end frame rates and data rates regardless of the sensor chosen and, in addition to this new value, the streamlined approach will result in a price reduction compared to RED’s previous camera line-up. “RED was founded with the desire to democratize the digital cinema camera industry by making trailblazing technology accessible to shooters everywhere,” said Jarred Land, President of RED Digital Cinema. “And that mission has never changed. With that in mind, we have been working tirelessly to become more efficient, as well as align with strategic manufacturing partners to optimize our supply chain. As a result, today I am happy to announce a simplification of our lineup with a single DSMC2 brain with multiple sensor options, as well as an overall reduction on our pricing.” RED’s DSMC2 camera BRAIN is a modular system that allows a shooter to configure a fully operational camera setup to meet their individual needs. RED offers a range of accessories including display and control functionality, Input/Output modules, mounting equipment, and methods of powering the camera. The DSMC2 camera BRAIN is capable of up to 60 frames per second at 8K, offers 300 MB/s data transfer speeds and simultaneous recording of REDCODE® RAW and Apple ProRes or Avid DNxHD/HR. The RED DSMC2 camera BRAIN paired with each of RED’s sensor options provides the ultimate blend of flexibility and performance. · DSMC2 with MONSTRO 8K VV offers cinematic full frame lens coverage, produces ultra-detailed 35.4 megapixel stills, and delivers 17+ stops of dynamic range for $54,500. · DSMC2 with HELIUM 8K S35 is the recipient of the highest DxO score ever, delivers 16.5+ stops of dynamic range in a Super 35 frame, and is available now for $24,500. · DSMC2 with GEMINI 5K S35 leverages dual sensitivity modes to provide creators with greater flexibility using standard mode for well-lit conditions or low light mode for darker environments priced at $19,500. RED will begin to phase out offering new sales of its EPIC-W and WEAPON camera BRAINs immediately. In addition to the changes to the camera line-up, RED will also begin offering new upgrade paths for customers looking to move from older RED camera systems or from one sensor to another. The full range of upgrade options can be found here. “We would not be where we are today without the continued support of our customers,” continues Land. “And after having many conversations with a wide range of those customers, now is also the perfect time to announce our latest loyalty programs to give them the opportunity to upgrade to the latest RED technology."
  12. I wanted to share a problem I recently encountered on a feature I shot in May/June of 2017. This website is a great resource to search for solutions to film specific problems and I feel my experience with G Drives, partition maps, formatting, and Red Undead can help others who may end up in the same situation. I will go in depth on what I learned and end with a simple tutorial on how to fix the problem. Detailed Story The production I was shooting decided to have post-production be a Windows OS based workflow. Per usual, I checked in with the post-team to figure out their OS and together advised the production on which types of hard drives to get. Remember, a FAT32 file system is largely unsuitable for video production because of the file size limitations. The production was opening formatting all of the hard drives FAT32 so they can work on either a Windows or Mac OS, but I advised against it for the above reason. I haven't had much experience with ExFat, which holds larger file sizes and is cross platform. We decided a conservative approach and felt formatting the hard drives for Windows was our best solution. The film was low budget and slightly inexperienced, so we received our hard drives on the first day of production. We used G-Drive branded hard drives with 3TB each. Our camera system was the RED Epic with normal SSD magazines. The first night after shooting we started to format hard drives and discovered that G-Drive is specifically designed for Mac. It can work on Windows, but G-Drive's workflow for formatting hard drives on and for a Windows environment is convoluted. Instead of having the hard drive in a FAT32 format that both systems can recognize for initial formatting, the drives came pre-configured for Mac. To format them, we had to use disk utility and command prompt (see instructions here: https://support.g-technology.com/KnowledgeBase/answer.aspx?ID=14080) A key thing to note about this process: command prompt uses the clean command that erases the information that tells the computer the layout of the file structure of the hard drive. In a nutshell, every hard drive has a file that is a roadmap of all the data it stores; where each physical gate is, what row, how it's fragmented, etc. Windows and Mac have very specific structures, hence why Mac hard drives are largely unreadable by Windows and vice versa. [TANGET] Software exists that allows the OS's to read hard drives for opposing OS's [TANGENT] The clean command erases that file, but nothing else. When you're in a Windows environment, a Mac formatted hard drive will not even be recognized by the OS. The only way a user can see it is through the Disk Utility program; at that point a user can only see that a hard drive is connected, but nothing else (because Windows sees nothing else either!). When you use clean in command prompt on the Mac hard drive, it creates the drive as an "unallocated" or unused hard drive. You can then create a new volume out of this unallocated hard drive and format it to a Windows structure. From there you have a hard drive that Windows can read/write to. What if you accidentally use a clean command? What if that command was used on a Red SSD that has undownloaded footage? That happened to my production. There is no way to undo a clean command; the partition file that describes to the OS what the structure is becomes completely unique once content is written to the hard drive because the partition file is updated to reflect where that new information is written. It's like a dynamic rosetta stone; without it, there's no way to decipher the data written. It is better described as a partition map. With the partition map erased, the SSD had undownloaded footage with no way to find it. This became extremely stressful for me. However, I did find a solution. Red Undead is a Mac based program developed by Red. It's designed for recovering data from accidental formatting of SSD's. Essentially, when an SSD is formatted in camera, the partition is re-written to display the structure and all of the data is made available for re-writing. But, none of that data is changed; physically the bits are still in the position they were last in (either a 1 or 0). Red Undead takes advantage of these "old states" and reads the data. From there, based on how Red's own R3D files are constructed, Red Undead can re-create the lost footage. To recap, we had accidentally erased the partition map of a Red SSD. There's undownloaded footage sitting on the magazine, but there's no map available to tell the computer a) that a hard drive exsists and B) what and where each file is. So, we decided to try Red Undead. We formatted the Red SSD in camera (to write the Red partition file) and then brought it into Red Undead. The program then spent an hour or so reading every gate, eventually spitting out nearly all of the lost footage. We only lost a portion of the first clip, which is a lot better than losing the entire card. NOTE: do not perform a secure format of the SSD in camera. A secure format rewrites the partition file and writes 0's across the entire SSD. A secure format truly erases footage. There are a few things to learn from my experience: Hard Drives must be delivered during prep. Be adamant about it as a DP and DIT. Erasing a partition map is part of the formatting process; the damage is done. An unsecured or simple format doesn't erase the already written data, but makes it available to be written over A secured format erases the partition map and writes 0's across the entire card/hard-drive, fully erasing footage. Red Undead reads old written data that hasn't been written over yet Red Undead is only available for the Mac OS. (we should keep pestering them for a Windows port) The obvious one: DO NOT FORMAT HARD DRIVES WITH CAMERA MEDIA CONNECTED AT THE SAME TIME Of course, this technology may change over the years, but the concepts should hold. Tutorial: How to fix a Red SSD Mag that has its partition map erased If the partition map has been erased, do nothing else to the SSD mag if it's still connected to a computer. Insert the SSD mag and do an unsecure format in camera. Reconnect the SSD mag to a Mac computer. Run Red Undead in the computer. Verify which clips were saved and which were not. Ensure recovered clips are backed up before formatting the card again. --- I hope my experience can help others! I'm in no way an engineer (software or hardware), so please correct me if my terminology or concepts are wrong. Has anyone else had experiences similar to this? Does ARRI, Canon, or Panasonic offer data recovery software like Red Undead?
  13. RED DIGITAL CINEMA® introduced today the new GEMINI™ 5K S35 sensor for its RED EPIC-W® camera. The GEMINI 5K S35 sensor leverages dual sensitivity modes to provide greater flexibility for a variety of shooting environments. Whether creators choose to shoot in standard mode for well-lit conditions or low light mode for darker environments, the RED EPIC-W with GEMINI 5K S35 sensor delivers incredible dynamic range and produces cinematic quality images. The GEMINI 5K S35 sensor delivers exceptional low-light performance allowing for cleaner imagery with less noise and better shadow detail. Operators can easily switch between modes through the camera’s on-screen menu with no down time. The GEMINI 5K S35 sensor offers an increased field of view at 2K and 4K resolutions compared to the higher resolution HELIUM® sensor. In addition, the sensor’s 30.72 mm x 18 mm dimensions allow for greater anamorphic lens coverage than with HELIUM or RED DRAGON® sensors. “While the GEMINI sensor was developed for low-light conditions in outer space, we quickly saw there was so much more to this sensor,” said Jarred Land, President of RED Digital Cinema. “In fact, we loved the potential of this sensor so much, we wanted to evolve it to make it have a broader appeal. As a result, the EPIC-W GEMINI now sports dual-sensitivity modes. It still has the low-light performance mode, but also has a default, standard mode that allows you to shoot in brighter conditions.” Built on the compact DSMC2® form factor, this new camera and sensor combination captures 5K full format motion at up to 96 fps along with incredibly fast data speeds of up to 275 MB/s. Additionally, it supports RED’s IPP2 enhanced image processing pipeline in camera. Like all of RED’s DSMC2 cameras, EPIC-W is able to shoot simultaneous REDCODE® RAW and Apple ProRes or Avid DNxHD/HR recording and adheres to RED’s dedication to OBSOLESCENCE OBSOLETE®— a core operating principle that allows current RED owners to upgrade their technology as innovations are unveiled, as well as move between camera systems without having to purchase all new gear. Beginning at $24,500, the new RED EPIC-W with GEMINI 5K S35 sensor is available for purchase at select RED Authorized Dealers globally and on RED.com. Alternatively, WEAPON Carbon Fiber and RED EPIC-W 8K customers will have the option to upgrade to the GEMINI sensor at a later date. To learn more, visit www.red.com/products/epic-w.
  14. Irvine, CA — Nov. 6, 2017. RED Digital Cinema will be showcasing its new cinematic Full Frame sensor for WEAPON cameras, MONSTRO™ 8K VV, at the 25th Camerimage International Film Festival in Bydgoszcz, Poland, from November 11-18. The MONSTRO 8K VV sensor is an evolutionary step beyond the DRAGON 8K VV sensor with improvements in image quality including dynamic range and shadow detail. A WEAPON with MONSTRO 8K VV sensor offers Full Frame lens coverage, captures 8K full format motion at up to 60 fps, produces ultra-detailed 35.4 megapixel stills, and delivers incredibly fast data speeds — up to 300 MB/s. Festival attendees visiting RED’s stand in the Opera Nova Main Foyer will have the opportunity to handle the company’s latest DSMC2® cameras, including WEAPON 8K VV, WEAPON 8K S35 and EPIC-W 8K S35. RED cameras will also be on display at Leica, Cooke, Zeiss, Angeniuex, Hawk and Panavision stands. An official sponsor of Camerimage, RED will also host two seminars at the festival. On Nov. 13, cinematographers Christopher Probst, ASC and Markus Förderer, BVK will discuss “The Future of Digital Formats.” From music videos to feature films and original TV series, Christopher and Markus will share their process for evaluating tools, and approach to choosing a camera and lenses. Attendees will also learn how their progressive filmmaking, combined with the high resolution, large format and flexibility of RED cameras, helped to produce the desired results for their latest endeavors. The seminar will take place at 16:30 in the Miejskie Centrum Kultury (MCK). On Nov. 15, Light Iron Colorist Ian Vertovec and RED’s Dan Duran will discuss RED’s "High Resolution Image Processing Pipeline.” Attendees will learn about the color science behind RED’s Image Processing Pipeline (IPP2), which offers a completely overhauled workflow experience featuring enhancements such as better management of challenging colors, an improved demosaicing algorithm, smoother highlight roll-off, and more. Light Iron will also be featuring modern high resolution workflow, HDR, and its unique color grade used in the Netflix original series, GLOW. The seminar will take place at 16:45 in the Miejskie Centrum Kultury (MCK).
  15. A refreshed RED Tools app from RED Digital Cinema® is available now from the Apple App Store and available for the first time on Google Play for Android devices. RED Tools is a multipurpose toolkit designed for use by filmmakers and cinematographers with RED’s DSMC2® and DSMC® cameras. Within the free app, camera operators will find Light and Dark modes for different shooting environments plus a selection of convenient tools that aid camera set-up for: Crop Factor, Recording Time, Flicker-Free Video, Depth of Field, Panning Speed and Exposure in 11 languages including English, Simplified Chinese, German, Japanese, French, Spanish, and more. For more information, visit www.red.com.
  16. Irvine, CA — October 5, 2017. Today, RED Digital Cinema® announced a new cinematic full frame sensor for WEAPON® cameras, MONSTRO™ 8K VV. MONSTRO is an evolutionary step beyond the DRAGON 8K VV sensor with improvements in image quality including dynamic range and shadow detail. This newest camera and sensor combination, WEAPON 8K VV, offers full frame lens coverage, captures 8K full format motion at up to 60 fps, produces ultra-detailed 35.4 megapixel stills, and delivers incredibly fast data speeds — up to 300 MB/s. And like all of RED’s DSMC2 cameras, WEAPON shoots simultaneous REDCODE® RAW and Apple ProRes or Avid DNxHD/HR recording and adheres to the company’s dedication to OBSOLESCENCE OBSOLETE® — a core operating principle that allows current RED owners to upgrade their technology as innovations are unveiled and move between camera systems without having to purchase all new gear. “RED’s internal sensor program continues to push the boundaries of pixel design and MONSTRO is the materialization of our relentless pursuit to make the absolute best image sensors on the planet,” says Jarred Land, president of RED Digital Cinema. “The Full Frame 8K VV MONSTRO provides unprecedented dynamic range and breathtaking color accuracy with full support for our IPP2 pipeline.” The new WEAPON will be priced at $79,500 (for the camera brain) with upgrades for carbon fiber WEAPON customers available for $29,500. MONSTRO 8K VV will replace the DRAGON 8K VV in RED’s line-up, and customers that had previously placed an order for a DRAGON 8K VV sensor will be offered this new sensor beginning today. New orders will start being fulfilled in early 2018. RED has announced a comprehensive service offering for all carbon fiber WEAPON owners called RED ARMOR-W. RED ARMOR-W offers enhanced and extended protection beyond RED ARMOR, and also includes one sensor swap each year. “‘Good’ has never been ‘good enough’ for RED,” says Land. “We put ourselves in the shoes of our customers and see how we can improve how we can support them. RED ARMOR-W builds upon the foundation of our original extended warranty program and includes giving customers the ability to move between sensors based upon their shooting needs.” Additionally, RED has made its enhanced image processing pipeline (IPP2) available in-camera with the company’s latest firmware release (v7.0) for all cameras with HELIUM and MONSTRO sensors. IPP2 offers a completely overhauled workflow experience, featuring enhancements such as smoother highlight roll-off, better management of challenging colors, an improved demosaicing algorithm, and more. Visit red.com for details or find an authorized dealer or rental house in your area.
  17. This professional package includes everything cinematographers need to start shooting, including lens, media, batteries, software and more. RED Digital Cinema® announced today that its RED RAVEN® Camera Kit is now available exclusively through Apple.com and available to demo at select Apple Retail Stores. This complete handheld camera package features a diverse assortment of components from some of the industry’s top brands, including: RED RAVEN 4.5K camera BRAIN RED DSMC2® Touch LCD 4.7” Monitor RED DSMC2 Outrigger Handle RED V-Lock I/O Expander RED 120 GB RED MINI-MAG® Two IDX DUO-C98 batteries with VL-2X charger G-Technology ev Series RED MINI-MAG Reader Sigma 18-35mm F1.8 DC HSM | Art Nanuk heavy-duty camera case Final Cut Pro X foolcontrol iOS app for RAVEN Camera Kit The RED RAVEN Camera Kit is available for $14,999.95. Customers can buy this package or learn more at Apple.com and select Apple Retail Stores. “We are very excited to work with Apple on the launch of the RED RAVEN Camera Kit, available exclusively through Apple.com,” said Jarred Land, President of RED Digital Cinema. “The RED RAVEN Camera Kit is a ready-to-shoot professional package that gives content creators everything they need to capture their vision with RED’s superior image capture technology." The RAVEN 4.5K is RED’s most compact camera BRAIN, weighing in at just 3.5 lbs. This makes it a great choice for a range of applications including documentaries, online content creation, indie filmmaking, and use with drones or gimbals. The RAVEN is equipped with a 4.5K RED DRAGON sensor, and is capable of recording REDCODE RAW (R3D) in 4.5K at up to 120 fps and in 2K at up to 240 fps. RED RAVEN also offers incredible dynamic range, RED’s renowned color science, and is capable of recording REDCODE RAW and Apple ProRes simultaneously—ensuring shooters get the best image quality possible in any format. The RED RAVEN Camera Kit also includes Final Cut Pro X which features native support for REDCODE RAW video, built-in REDCODE RAW image controls, and the most complete ProRes support of any video editing software. Together with the free RED Apple Workflow software, Final Cut Pro allows professional video editors to work quickly and easily with RED RAVEN footage on MacBook Pro, iMac, and Mac Pro systems. All RED cameras feature a modular design that empowers customers to dial in their ideal configuration for any production environment. Customers looking to outfit their RAVEN with additional accessories should go to www.red.com.
  18. RED Digital Cinema will bring its latest DSMC2 cameras to The Media Production Show, which takes place 13th and 14th June at the Olympia London (West Hall). Attendees will see demonstrations of the RED EPIC-W™ and WEAPON® 8K S35 with HELIUM™ sensor in the RED VIP Experience Lounge. Sessions with filmmakers* will also take place in the RED VIP Experience Lounge. Speakers are expected to include Planet Earth II cameraman Rob Drewett and New Earth Films producer Kevin Augello as well as access to 8K footage from The BRITs and more. To register to attend the sessions or visit the Lounge, go to: http://bit.ly/REDVIPMPS 13 June / 10am-6pm 11:00 am - 11:30 am Media Management and High-Resolution Data Capture on Electric Dreams 2:30 pm - 3:00 pm The BRITs 8K Q&A Showcase & Gallery Drinks 3:00 pm - 3:30 pm Exclusive Q&A with Planet Earth II Cameraman Rob Drewett 3:30 pm - 4:30 pm RED Happy Hour 14th June / 10am-5pm 10:45 am - 11:00 am Zeiss VR lens giveaway 12:00 pm - 12:30 pm Lunch with The Production Guild 3:00 pm - 3:30 pm Exclusive Q&A with Kevin Augello from New Earth Films RED cameras will also be on display with select partners at The Media Production Show, including Cooke Optics (#554), Scan Computers (#214), G-Technology booth (#320), and Zeiss (#504). Those heading over to Zeiss will experience the capture capabilities of 6K alongside the new Cine CP.3 XD lenses. In addition, Scan Computers will demonstrate RED’s intuitive workflow within an advanced workstation. All of RED’s DSMC2 cameras offer incredible dynamic range, shoot simultaneous REDCODE® RAW and Apple ProRes or Avid DNxHD/HR recording, weigh less than 2 kilograms and adhere to the company’s dedication to OBSOLESCENCE OBSOLETE® — a core operating principle that allows current RED owners to upgrade their technology as innovations are unveiled and move between camera systems without having to purchase all new equipment.
  19. RED to Host Panels Featuring Henry Braham, BSC, Dean Devlin and Red Bull Media House Cine Gear attendees can find RED Digital Cinema at booth S301 in Stage 2 of Paramount Studios at Cine Gear Expo 2017 from June 2-3. RED’s visitors can interact with a range of DSMC2™ cameras, including SCARLET-W™, RED EPIC-W™, WEAPON® 8K S35 and WEAPON 8K VV. Additionally, RED will be demonstrating the latest workflow options - covering their new image processing pipeline (IPP2), HDR, and 8K. RED will be joined in their booth by a wide variety of manufacturers of lenses, camera modules and accessories including RT Motion, Kippertie, foolcontrol, and Offhollywood. RED will also take attendees behind the scenes with two panels in Paramount’s Sherry Lansing Theater: June 2 at 12:45pm: Director Nicholas Schrunk and key members of Red Bull Media House’s production team will discuss the making of the feature documentary Blood Road. Blood Road follows the journey of ultra-endurance mountain bike athlete Rebecca Rusch and her Vietnamese riding partner, Huyen Nguyen, as they pedal 1,200 miles along the infamous Ho Chi Minh Trail. Their purpose was to reach the crash site and final resting place of Rusch’s father, a U.S. Air Force pilot shot down over Laos. Panelists will discuss the creative and technical process, and how this incredibly demanding story came together visually. Moderated by Andrew Fish of American Cinematographer. June 3 at 11:45am: Guardians of the Galaxy Vol. 2 director of photography Henry Braham, BSC will talk about filmmakers’ escalating preference for shooting with larger format digital cameras. Braham shot Guardians of the Galaxy Vol. 2 entirely on the RED WEAPON 8K VV. He will be joined by well-known producer, actor, and writer Dean Devlin. Devlin will discuss how new formats are driving an evolution in filmmaking for the big screen and touch on his experience using RED including WEAPON 8K S35. Moderated by Carolyn Giardina of The Hollywood Reporter. All of RED’s cameras offer superior image quality, incredible dynamic range, and simultaneous recording of REDCODE® RAW and Apple ProRes or Avid DNxHR/HD, combined with cutting-edge performance in a compact, lightweight, and modular design. For more information, visit http://www.red.com/cinegear-2017.
  20. IRVINE, CA, May 12, 2017 — Today, RED Digital Cinema announced the hire of Rod Marley to its Product Support Team. Marley is a 20-plus year industry veteran known for camera operations and his involvement in films such as GoldenEye, Kingsman: The Secret Service, Fast & Furious 6, and Maleficent, as well as a number of TV dramas. Marley will be based out of RED Europe located at Pinewood Studios.
  21. NASA announced it will produce the first-ever live 4K video stream from space during the 2017 NAB Show. “Reaching for the Stars: Connecting to the Future with NASA and Hollywood” will take place at 10:30 a.m. on Wednesday, April 26 in room N249 of the Las Vegas Convention Center (LVCC). America’s space agency is a pioneer in the application of advanced media – including 4K. NASA used the RED EPIC DRAGON to improve the quality of their images captured aboard the International Space Station (ISS). NASA relied on the RED EPIC DRAGON to capture high-resolution footage aboard the International Space Station (ISS). NASA’s Imagery Expert Program Manager, Rodney Grubbs, said, "Using the RED EPIC DRAGON cameras on board the International Space Station for more than two years has helped NASA capture stunning imagery in 6K. Now, we’re looking forward to downlinking live 4K out of the camera from the space station for the first time ever. This opens up a whole new chapter in live broadcasting from the space station, providing a powerful new tool to support science and research. NASA also is excited about using this technology to provide the rest of us here on Earth a way to experience life and work on the world’s only orbiting laboratory in greater detail than ever before.” Those not attending NAB Show can enjoy the live broadcast at https://live.awsevents.com/nasa4k.
  22. Irvine, CA — January 23, 2017. RED Digital Cinema will be exhibiting at the BSC Expo (booth #223) in Battersea, London, from Feburary 3-4. Those visiting RED’s booth can interact with RED’s DSMC2TM cameras including, RED EPIC-W TM and WEAPON® 8K S35, which feature RED’s newest sensor, HELIUM™. Additional RED cameras will be on display in the Cirrolite, Cooke Optics, Fujinon, Schneider, and Zeiss booths. Exhibition attendees will also have an opportunity to join award-winning cinematographer Michael Snyman, as he discusses his choice of RED to shoot the highly-acclaimed television series, “The Night Manager.” Snyman will explain the technological benefits of shooting in high resolution and how it supported the creative outcome he was looking to achieve. The presentation will showcase footage from the production and will conclude with a Q&A. It is scheduled to take place in the Seminar Theatre on February 3 from 5:45pm - 6:15pm.
  23. Irvine, CA — November 4, 2016. RED Digital Cinema will be exhibiting at Camerimage International Film Festival in Bydgoszcz, Poland from November 12-19. Those visiting RED’s stand can interact with RED’s DSMC2™ cameras including the newest cameras, RED EPIC-W and WEAPON® 8K S35, which feature RED’s new HELIUM™ sensor. These RED cameras will be featured alongside Dedo Lights and Cooke Optics within the Main Foyer of The Festival Center. This stand will use a mock set displaying the Camerimage Frog Festival Trophies, rarely seen on the exhibit floor or outside the awards. Additional RED EPIC-W cameras will be featured on the Leica and Angenieux stands as well.
  24. RED Digital Cinema has begun shipping two new cameras - the highly anticipated RED EPIC-W and the newest WEAPON®. Both cameras feature the compact and intuitive design of the DSMC2™ form factor as well as the new HELIUM™ 8K S35 sensor. HELIUM - RED’s latest sensor technology - allows for higher resolution in an S35 frame, while maintaining the superior dynamic range found in the award-winning RED DRAGON® sensor. The EPIC-W 8K S35 camera carries on RED’s tradition of putting industry-leading cinema tools in the hands of the many. EPIC-W captures 8K Full Frame motion at up to 30 fps, produces ultra-detailed 35.4 megapixel stills and offers Super 35 lens coverage. Additionally, EPIC-W is capable of incredibly fast data speeds up to 275 MB/s. Best of all, it is priced at $29,500 (for the camera BRAIN), setting a new standard for making 8K accessible to professional filmmakers. The WEAPON 8K S35 is the latest option in the WEAPON line of cameras, featuring data speeds up to 300 MB/s, the ability to capture 8K Full Frame motion at up to 60 fps, and a sensor upgrade path to the RED DRAGON 8K VV. It is available for the same price as the WEAPON 6K with RED DRAGON sensor, at $49,500 for the BRAIN. “From the very beginning, we’ve strived to not only develop the best imaging technology on the planet, but also make it available to as many shooters as possible,” says Jarred Land, President of RED Digital Cinema. “The WEAPON remains our premier camera - and now comes with the option to either go with the 8K HELIUM sensor or 6K DRAGON sensor. “Since we began shipping the EPIC in 2010, it has been the workhorse camera of the industry,” continues Land. “Our latest camera, the EPIC-W, continues that legacy and features our current-gen DSMC2 form factor as well as the 8K HELIUM sensor." RED also announced special pricing on these new cameras for registered RED camera owners - as well as those that have placed a deposit for RED RAVEN and SCARLET-W – starting at $14,500. See details on eligibility at red.com. “As RED technology advances, we always strive to give our customers the opportunity to update their gear along the way,” says Land. “Our pricing for RED owners-only will allow them to move into either an EPIC-W or WEAPON with the 8K HELIUM sensor." In related news, RED has pre-announced that it will introduce an improved image processing pipeline, including new color science, in the coming weeks. These improvements will be available in-camera on all BRAINs with a HELIUM sensor, and will be available to all footage shot on RED cameras in post production. The new image processing pipeline will be made available soon via free firmware and software upgrades. All of RED’s DSMC2 cameras offer incredible dynamic range, shoot simultaneous REDCODE® RAW and Apple ProRes or Avid DNxHD/HR recording and adhere to the company’s dedication to OBSOLESCENCE OBSOLETE® — a core operating principle that allows current RED owners to upgrade their technology as innovations are unveiled and move between camera systems without having to purchase all new gear. Visit red.com for details or find an authorized dealer or rental house in your area. Product photos here: https://www.dropbox.com/sh/4126wyp69ta3fw5/AAByp5vz_1YbtYLLvUsZ-cH0a?dl=0 Product videos here: https://youtu.be/SB19g9Zs0yI https://youtu.be/pRm4pdkhnqE https://www.youtube.com/watch?v=9FSwQpnqqvY
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