» Posts Tagged ‘red’
David Fincher and Justin Timberlake Team Up for 'Suit & Tie' Music Video Shot on RED EPIC Monochrome
I mentioned we might be seeing a comeback for real black and white, and it looks like we’ve got one of our first examples on a big scale. We knew David Fincher was working with RED’s new black and white camera the EPIC Monochrome, but it wasn’t clear exactly what that production was. His new Netflix series House of Cards was shot on regular RED EPICs, but now it’s been confirmed on REDUser that Justin Timberlake’s new music video for Suit & Tie featuring Jay-Z was shot with the Monochrome. Click through to check it out. More »
I mentioned that we might see a response on REDUser from the CEO of RED regarding the recent lawsuit against Sony, and that’s exactly what we got earlier this morning. In the lawsuit, RED is claiming that Sony is infringing on patents related to REDCODE RAW compression, since Sony is also using RAW compression with their F65, F55, and F5 cameras. If you haven’t read it yet (and you’ve got an opinion on the matter), I’ve embedded the document in the previous post, and I am also embedding the patents that apply below. Click through for those documents as well as the response from Mr. Jannard. More »
A litte over a year ago, there was an email hacking incident involving Arri, Band Pro, and RED; Jannard and RED have since dropped their lawsuit to the best of our understanding, since as of a few days ago that case was agreed to be dismissed by all parties involved (everyone comes out a loser having to pay all legal fees and expenses). Now we have word that a brand new legal suit has appeared against Sony, alleging patent infringement related to their F65, F55, and F5 cameras. More »
Will 6K with RED Dragon Mean Unmanageable File Sizes? Plus, New RED Rocket Card in Development
While companies like Sony and Canon are just starting to offer their first affordable 4K cameras, RED is forging ahead to even higher resolutions. 5K is so 2012. Thanks to RED we’re about to get 6K. But it’s not all about resolution, we’re also getting other improvements with their new Dragon sensor, including better sensitivity and more dynamic range (Dragon will likely surpass the best 35mm film stocks with the latter). With all of these advancements comes a potential data headache for any working professional — what are we going to do with all of this data? RED and Sony both work in compressed RAW formats, but 4K compressed RAW is still a lot of data, and 5K pushes that even further. How will we deal with 6K RAW? According to CEO Jim Jannard, that’s where the power of RED’s wavelet codec comes into play. More »
RED Dragon Indeed: First 6K 2000 ISO Images from New Sensor Unveiled
Jannard and Co. have been quiet for a while now except for the occasional firmware update. When the guys at RED aren’t talking with users on their forum into the wee hours of the morning, there is a sure bet that something is brewing. We got our first image of the spectacular dynamic range of the sensor (which looks to be well over 14 stops), and now Jarred Land has posted some of the first still images taken from 6K (6000 x 3000 pixels) 86fps footage. More »
A solid color grade can very quickly take the edge off an image that looks “too digital.” If you don’t have much time to spend on said color grade, but you’d like to get a great look very easily, a film LUT that attempts to recreate some of the magic we get from Kodak and Fuji stocks could serve you well. We’ve discussed FilmConvert a bit before, but basically it’s either a standalone program or a plugin for the major Apple and Adobe products that uses the color science of the specific camera you’re using in order to precisely match the film stocks they have in their system. Now they’ve introduced another update, this time including support for the Canon C300 and the Arri Alexa. More »
Why is the RED SCARLET Four Times the Cost of a Canon 5D Mark III?
We already know what the Canon 5D Mark III can do, and there’s a good bet you’ve seen plenty of RED SCARLET videos online, but why such a cost difference between the two? Obviously one only shoots 1080p in H.264 but can be pushed quite a bit in lower light, and one can go all the way up to 4K at 24fps in RAW, but its ISO can’t be pushed quite as far. What if the stuff you’re shooting is just going to the web, do you really need all that extra resolution and detail? Will it make a difference in the end? Check out a test below from Robureau comparing the two cameras visually. More »
If you thought 4K was a buzzword at last year’s NAB, it was the real deal at CES this year. All of the manufacturers were out in force, and not just camera makers — everyone who makes a screen had a 4K display at the show. There were a couple interesting developments so far that might actually mean 4K comes to your home sooner rather than later, including much cheaper 4K TVs from Westinghouse, Netflix streaming a video in 4K at the show itself, and a 4K Windows 8 tablet from Panasonic. RED was also in attendance at CES, showing off their new tech and playing videos in their new highly-compressed but high-quality .RED format. Check out all of the latest developments below. More »
While there have been rumors for years about Hollywood rental and camera company Panavision developing a new camera to replace the aging Genesis, that’s pretty much all we’ve gotten: rumors. Back in early December at the Plus Camerimage 2012 festival, Panavision unveiled a prototype for a digital camera that will have a sensor equivalent to 70mm. It’s interesting and significant for a number of reasons, mostly because the last time Panavision developed a camera it became the standard that other digital cinema cameras had to live up to, and also because it signals that the company might think that’s where the future of movies is headed. More »
RED SCARLET Named PDN's Video Camera of the Year, What Will Happen in 2013?
While PDN (Photo District News) is an excellent source of photography related information, they have only just begun dabbling in high-end digital cinema. They just recently finished off their list of ‘Photo Gear of the Year,’ and on that list happens to be the RED SCARLET — which was actually introduced in November 2011 but didn’t start finding its way into the hands of users until December 2011 and well into 2012. It’s an interesting choice, for sure, but I’m sure part of it has to do with cost (it’s still half the price of EPIC), and the other part is that you can pull great still images from the video. More »
Will Post Houses and DITs Be Extinct by 2017?
The media management and quality control handled by the digital imaging technician and post house is nearly universally vital in modern filmmaking, where each digital camera brings its own varying formats, workflows, and quirks. This need for DITs and post houses, however, may evaporate just as quickly as it has arisen — at least according to the predictions of Michael Cioni. As the CEO of post house Light Iron, he has helped pioneer RED workflows at the highest level of filmmaking, so his word is not to be taken lightly — particularly since he’s predicting the end of what his and any other post house does as we know it by 2017. Furthermore, what cameras (and therefore camera teams) will have to take care of themselves is staggering, especially taking a look at the duties fulfilled by today’s high-end DIT carts — including those assembled by Light Iron itself. More »
RED Dragon Unleashes Its First Image, and SCARLET Camera Gets an Upgrade Path
It may be 2013 in many places around the world already, but it probably feels like a whole bunch of holidays wrapped into one over at RED. The company has been somewhat quiet about their Dragon sensor over the last few months, but thanks to the CEO Jim Jannard we’ve been getting details here and there throughout 2012 about the sensor. It’s claimed that it will be able to achieve over 15 stops of dynamic range, and they are trying to back up that claim with a dynamic range chart showing what appears to be that, and possibly more. More »
At this point, solid state image sensors have matched or exceeded film in a lot of ways, including light sensitivity, responsiveness to shadow detail, and overall dynamic range — but that doesn’t mean our chips aren’t susceptible to certain problems previously avoided by the nature of emulsion. Indeed, ‘sensitivity’ nowadays means something different altogether — and with the virtual necessity of neutral density filters as a result, this often means vulnerability to infrared pollution. Unless you like shooting at f/22 or you’re already using the Aaton Penelope Delta, you may also require an IR filter with your ND. AbelCine has recently shared a great rundown of which cameras suffer the most from IR pollution — and what filters work best to correct each. More »
While some of you may still be in the holiday spirit and enjoying time with family, we’ve got a music video from Sufjan Stevens that may or may not make you feel just a little different about the holiday classic “I’ll Be Home for Christmas.” Filmed in 120fps on the RED EPIC, the video took 1 month of preparation, 3 days of set building, and 35 cast and crew members — all for a total filming time of less than 1 minute. Click through to check it out, plus a nifty behind the scenes video of the entire thing in real-time. More »
Firmware updates are somewhat frequent for RED, but Version 4 or Build 4 was one of the most anticipated, for many reasons. It has finally arrived just in time for the new year, and it includes quite a few impressive additions. The wizards over at RED engineering have added time-lapse functionality, which should be helpful for matching footage if you want to keep everything RED but also want to shoot some time-lapse for your project. They’ve also added pre-record, ramp speed, an updated user interface, shorter black shade calibration, power management, and much more. Click through to check out all of the significant additions. More »
Purchasing a Digital Cinema Camera Package: a Complete Guide from Ryan E. Walters
Things are moving fast in the world of digital cinema. Just a few years ago DSLRs were about the only affordable way to get a cinema quality image, but now we’ve got plenty of camera options under $20,000 that would have cost well over $100,000 just five years ago. We’ve already shared with you a rather comprehensive RED buying guide, and now we have a wonderful digital cinema buying guide from Ryan E. Walters. He covers everything you need to know about putting together a camera package, and gives personal experience about the package he is planning to put together.
This is a guest post by Cinematographer Ryan E. Walters. More »
Canon CN-E Cinema Primes vs. Still Lenses on the C300, 5D Mark III, RED SCARLET, and AF100
Up until recently, there wasn’t much competition for PL style lenses at the lower budget level. If you were lucky, some used Super Speeds or Standard Speeds would be a good catch. Now we’ve got brand new cinema lenses from Canon right in this range, the CN-E lenses, and even though they aren’t PL mount, they cross off the other checkboxes in regards to giving you a professional solution. The team over at Magnanimous Media got a hold of the CN-E 24mm T/1.5, 50mm T/1.3, and 85mm T/1.3 primes from Canon, and compared them in a brief, unscientific test against the equivalent still lenses from Canon, the 24mm F/1.4, 50mm F/1.2, and 85mm F/1.2. Click through to watch their results. More »
Homebrew Render Farming at Crunch Time with Imminent 'The Underwater Realm,' Plus New Trailer
You may recall when director David M. Reynolds shared a guest post with NoFilmSchool readers, in the midst of what would become a significantly successful Kickstarter campaign — overfunded $40k beyond its $60k goal — for his project The Underwater Realm. Now, a year later, the film is less than two weeks from premiering for free on YouTube. Needless to say, the all-volunteer-multi-talented-hyphenates of Realm Pictures is working tirelessly to get the project finished. On top of this, they’ve shared a seemingly endless amount of insight into their process along the way, via weekly video blogs — including a recent look at their self-implemented render farm-style workflow, the sound design, and a bit earlier, a look at their amazing underwater shooting process. Watch these and a new trailer below. More »
A Guide to Building a RED Camera Package: An Accessory List for Every Budget Level
Despite the recently reduced price of RED cameras, each model still requires a lot of (pricey) accessories. We’ve pointed this out from the very beginning, but now we’ve gone further and compiled some realistic shooting packages at three different levels: a “cheapest possible ONE MX” list by Aaron Rich, an “owner/operator SCARLET” package by myself, and a “full professional EPIC” package by Timur Civan. Our overall goal with this post is not just to introduce (potential) RED shooters to some accessory options and needs for the RED ONE MX, SCARLET, and EPIC, but to hopefully create a post wherein users can share what has worked best for them. Let’s get started, this is going to be a long one! More »
Still photography has been around for well over 100 years now, and it’s been used in advertising for nearly that long. With the abundance of screens bombarding our everyday lives, video is beginning to complement, and at times take the place of, still photography — especially when that video is shot with something like the RED EPIC which can give you still photography and video at the same time. Greg Williams, who is no stranger to RED, has been shooting MOTOs (or motion and still photography) for a while now, and his first happened to be for Daniel Craig’s second Bond film Quantum of Solace — and now he’s returned to shoot some MOTOs for Skyfall. More »
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