» Posts Tagged ‘redepic’
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 »
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 »
Though RED has certainly not been quiet lately, there hasn’t been much news about their ‘one sensor to rule them all,’ also known as the Dragon (though I wonder if this codename will stick as we are about to leave the Year of the Dragon in a few months, and enter the Year of the Snake). We may not have much new information about the sensor, but Mr. Jannard has been making some rather interesting statements regarding the development and why 65mm, not 35mm, should be the benchmark for RED going forward. More »
I may be alone in this, but I often wonder about pretty wild and crazy sorts of technical things (many times involving VHS tape — don’t ask :). For instance, I’d be curious to see how RED holds up transferred to that good old home video workhorse format, or maybe how VHS-shot footage looks blown up to HD or even 4K (I may or may not be joking about that). I simply have a fascination with this type of thing, and as such, I was very excited about this find! Director David M. Helman has overseen the creation of a Joey Bada$$ (with Chuck Strangers) music video which blends RED footage that was dubbed to VHS, recaptured, stretched, then composited back over the original shots — creating a time-bending nostalgic-but-new feel. Read on to watch the video, and see what this stuff looks like! More »
If you just got in on a RED camera for a tremendous price, and you aren’t familiar to the RED workflow, it can be a little confusing at first, especially since RAW files offer a tremendous amount of flexbility. If you’ve got Adobe Premiere Pro CS6, RED has put together a little video showing exactly what you need to do to get started working with RED RAW files and manipulating them within the program. Check out the video below: More »
That didn’t take long. Two weeks is as long as the stock lasted on the Battle-Tested RED ONE MX cameras. It’s likely going to be the end of the road for new sales of MX cameras, though I guess with RED, never say never. Certainly if you were looking to get in on a real cinema camera with RAW output, it was a fantastic deal even if, as I’ve heard at least a hundred times, that you can’t actually put together a working camera for $4,ooo. Also, since we decided to cover it in the first place, turns out Mr. Jannard wasn’t being quite as forthcoming with the timeline on retirement as we originally thought. More »
Ever since we first talked about RED’s new black and white only EPIC Monochrome cameras, and then even showed footage, many have still been unsure why a product like this exists in the first place. Why not just take the RAW image from the EPIC and convert to black and white? Shouldn’t that give the same quality? After all, you’re already starting from a set of RAW images that simply contain metadata. Well, the answer is a definitive no, and a comparison between the Monochrome and non-Monochrome versions of the camera will show you exactly what’s going on, and why this is probably the sharpest and cleanest black and white moving image you’ve ever seen. More »
If you somehow missed the price drop announcement a few days ago, RED’s workhorse camera, the RED ONE MX, is now selling for $4,000. Forget 3K for $3K, the RED ONE is capable of an astounding 4.5K for $4K. While it will cost a little bit more to get one shooting, there’s no question it’s a sign of how far technology has come that a camera used on seriously high-end feature films like Contagion and The Girl with the Dragon Tattoo is now available for such a low price. If you’ve been on the fence about getting one, you’ll have to move quickly as these are going fast — the CF module version has already sold out. We’ve also got word that the man who started it all, RED’s CEO Jim Jannard, may be stepping down once the new Dragon sensor and a “new technology” are both released. More »
Some of you may have noticed something very, very interesting about the body designs of Sony’s upcoming F5 / F55 Cinealta cameras (they are, after all, nearly identical). These newcomers display something that the still rather-young F65, and for that matter, pretty much any other Sony cinema camera before now, has never featured (yes, aside from being shoulder-mount-friendly) — true modularity. Since its big announcement last week, Sony posted a video featuring Cinematography Product Specialist Richard Lewis demonstrating the level of modularity and extensibility built into the New F series — read on to check it out. More »
We knew RED was going to respond to the recent announcement from Sony, and respond they have. RED has recouped their initial costs for the EPIC project, and that means they’ve decided to cut the prices on both the EPIC and SCARLET platform (since SCARLET shares many of the same parts as the EPIC). If you’ve been waiting to buy one of these high-end cameras, there hasn’t been a better time than now, especially since RED has created an upgrade path for their new Dragon sensor. They’ve also dropped a serious bomb with a new battle-tested RED ONE MX. Without further ado, click through for the new prices. More »
It looks like it’s RED Day here at NoFilmSchool. Both Sony and RED have been making a lot of noise in relation to new products (or price reductions). We’ve got the new F5 and F55 cameras, and a new 4K recorder from Sony, and while we can’t be sure of the final price just yet, it’s clear RED and Sony both view compressed formats as important (even if one might say 1080p/2K is a “scam”). The new RED Meizler Module, which features all sorts of wireless controls and proxy recording, now officially supports ProRes. Another major milestone for RED, they’ve also released the cheapest media available, a 48GB SSD, and it’s in stock in the RED store if you’d like to order it. Click through for more details. More »
Jim Jannard, the man with the plan for RED, has said a lot of interesting things on the RED forum over the last few years, mostly about how 4K is the only format we should be aspiring to, and 1080p and 2K is not enough — even stated by Arri’s own material on film scanning to 4K. It’s not very often that he gives credit to another product, but that’s exactly what he does here. Why does this matter? RED didn’t have any competition as far as price was concerned until now, and with a little pressure, we could see some drastic reductions in price. Read on for what Mr. Jannard had to say about Sony. More »
Easily Calculate Crop Factor, Focal Length, and Depth of Field with RED's Cinephotography Tools
To round out the good amount of RED-related news we’ve covered recently, Jarred Land has recently posted about something not directly related to their cameras or software. While not busy working on their new sensor or getting a bunch of SCARLETs ready for shipping (hopefully to you), RED has been working on a few online tools to calculate the inter-connected nature of sensor crop, focal length, and the field of view of your final shot — among other things. Read on for more details. More »
In a move that surely has absolutely nothing to do with Sony’s new cameras, RED has announced price drops on the EPIC and SCARLET cameras. They haven’t said exactly how much the prices will drop, but they will be sharing those details on October 31st November 1st — which is again, completely coincidentally, the day after Sony will announce their new camera(s), speculated to be the F5 and F55. This is reminiscent of when RED announced the SCARLET the same night as the Canon C300 in that RED has clearly taken a class in Headline Stealing 101 — and by going second, they get to make last-minute adjustments based on their competition (and by being a much smaller, more agile company they can pivot more quickly). They also recently shared some updates on their Dragon sensor. More »
Enter the Shot on RED Film Festival, Winner Receives a RED SCARLET Camera Package
So you’ve shot a film on RED but you want to actually project that movie for an audience in 4K? With so few films actually being distributed in 4K, aside from renting out a 4K theater, what’s a filmmaker to do? Well, RED is answering that question with their own film festival, which will include both shorts and features from independent productions. The festival will be free to enter, but the deadline is approaching quickly, so you probably won’t have time to shoot something just for the festival if you haven’t done so already — though you can submit films that have already played at other festivals. Click through to read all of the details about the festival. More »
If you’ve ever had the opportunity to shoot in black and white either on film or digital, then you know there is something special about the look that you can’t quite achieve with converting from a color image. That’s exactly why RED created the new EPIC-M Monochrome camera (and also because some guy named David Fincher is currently working on a project that is using the camera). Besides the advantage in tonality and detail (since there isn’t any debayering), the Monochrome camera is also rated at 2000 ISO — which is more than a two-fold increase in low-light ability. Steven Sebring took the Monochrome for a spin recently, and you can click through to see his spectacular results. More »
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