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Found 23 results

  1. 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
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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."
  9. 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?
  10. 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.
  11. 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).
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. 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
  22. Irvine, CA - September 7, 2016. RED Digital Cinema is heading to IBC (booth #12.C71) in Amsterdam from September 9-13. Those visiting RED's booth can interact with RED's entire line of DSMC2TM cameras - RED RAVEN™ 4.5K, SCARLET-W 5K, WEAPON® 6K and WEAPON 8K VV, as well as the limited edition white WEAPON 8K S35 featuring RED's newest sensor, HELIUM™. This creates a unique opportunity for visitors to experience two industry-leading 8K sensors, RED DRAGON® VV and HELIUM S35, side-by-side. All of RED's DSMC2 cameras offer superior image quality, incredible dynamic range, and are capable of shooting simultaneously in REDCODE® RAW and Apple ProRes or Avid DNxHD/HR. WEAPON cameras upgraded to a RED DRAGON 8K VV sensor boast up to 75 fps at 8K resolution, 35 megapixel stills from motion, 300 fps at 2K resolution, and incredibly fast data speeds (up to 300 MB/s). RED will also highlight the flexibility of its cameras' modular design by showcasing a variety of third party accessories and peripherals designed specifically for RED cameras. Companies represented in RED's booth will include: * FOOLCOLOR * OFFHOLLYWOOD * RT Motion * Bright Tangerine * Gates Underwater
  23. Irvine, CA - August 16, 2016. RED Digital Cinema® is returning to The Beijing International Radio, TV & Film Exhibition (BIRTV) at the China International Exhibition Center from August 24-27. Located in booth 1A108, visitors can interact with RED's line of DSMC2™ cameras, learn about RED's intuitive workflow, and see the latest software and accessories from third party partners like Bright Tangerine, Gates Underwater Products, RTMotion, and S.G.O. RED will showcase the WEAPON® Carbon Fiber camera, which boasts 6K resolution at 75 frames per second, ultra-detailed 19.4 megapixel stills from motion, and blazing fast data speeds up to 300 MB/s. In addition to the WEAPON, RED will also show the 5K SCARLET-W and 4.5K RAVEN™ cameras. The SCARLET-W blends flexibility and accessibility with high-end performance; while RAVEN, the smallest camera in the RED ecosystem, has a lightweight durable design that makes it perfect for operators looking to shoot on the move. All of RED's DSMC2 cameras offer superior image quality, incredible dynamic range, simultaneous recording of REDCODE® RAW and Apple ProRes or Avid DNxHR/HD, and adhere to the company's dedication to OBSOLESCENCE OBSOLETE® - a core operating principle that allows current RED owners to move between DSMC2 cameras without having to purchase all new gear.
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