» Posts Tagged ‘redscarlet’
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 »
New from Redrock: Blackmagic/C100 ultraCages, lowBase, and an Exclusive NoFilmSchool Discount
Let’s face it, unless a camera is designed to go on your shoulder, it’s either going to need some sort of rig, or you’re going to have to get creative to achieve maximum stability. Not only that, but many of these smaller cameras don’t have any good way for you to grab them quickly. That’s where Redrock Micro’s ultraCage product line comes in. They’ve introduced two new cages that are specifically designed to fit snugly around the Blackmagic Cinema Camera and the recently announced Canon C100. They’ve also come up with the lowBase, a great solution to add rails to tall cameras without increasing the height of your rig. If all of this weren’t news enough, Redrock is also offering a 10% discount — exclusively to NoFilmSchool readers. More »
If you were one of the lucky few who got in on the recent RED SCARLET deal (or you already owned one), RED has just announced a new stable firmware update that allows the HDMI and the HD-SDI to output a signal simultaneously on both the EPIC and the SCARLET. This had previously been impossible without the use of a splitter of some kind, but it’s clear that the EPIC and SCARLET are powerful enough to not only record internally, but also send out two debayered signals at the same time. Check out the rest of the major additions in this update below. More »
The RED SCARLET, with a Side SSD Mount and Aluminum Canon lens mount, is currently selling for $11,900 direct from RED. However, due to a project wherein a large number of Scarlets were needed to simultaneously shoot one shot, there are now a limited number of these cameras available [UPDATE: no more cameras available] with one minute or less of record time on them for $7,100 (that’s $4,800 off if you’re counting beans). The official word from RED’s Jarred Land: More »
RED’s new Meizler Module was recently introduced, and it does almost everything you think a module should be able to do. It’s wireless functionality and proxy capabilities are the main selling point, but RED is also developing their own app that allows control of a RED EPIC or SCARLET through an iPad, iPhone, or iPod Touch. Here is another video from Sean Ruggeri at RED giving a brief overview of the Meizler Module as well as the new REDsync app: More »
I’ve pointed out in the past that one of the things keeping the RED SCARLET from being anywhere close to a $10k camera (as its price tag first indicates) is the price of its accompanying REDMAG media. RED recently dropped the price on REDMAGs, but even with the new pricing it’s still easy to spend half as much on the media as you did on the camera body — a ratio that is almost never true for other cameras. The EPIC needs high-speed media for its decreased compression and increased frame rates (and the ratio of media:camera is more friendly with a $1,000 media card when you’re spending $30k on the camera brain), but the SCARLET could use some correspondingly cheaper options. Not just in terms of capacity — also in terms of speed, given no one is shooting 5K at 120FPS on their SCARLET. Enter the new 48GB REDMAGs. More »
This post was going to go live far earlier but there’s been quite a bit of news regarding cameras. First Sony releases more models than we can keep track of, and then we get the Panasonic GH3 and Nikon D600. RED has been plugging away at their Meizler Module for some time now, and the amount of functionality shoved into one device is truly mind-boggling. Unfortunately, it comes at a price, but it will be one of those modules that will be very useful as a rental (unless you’ve got a lot of money to spend). Since there are so many, some of the more important specs are listed below. More »
When the RED EPIC was first announced, one of the big selling points from RED’s perspective was the fact that the camera could be used for both stills and video. Until now though, the only still camera lenses that could work natively on the EPIC and SCARLET have been from Canon (and more recently some older Leica lenses). RED produced that electronic mount in two versions, aluminum and titanium, and it has been very popular on the SCARLET camera to use lower-cost (but high quality) lenses. Those mounts also allow the use of autofocus and ability to control the iris directly from the camera. The long-awaited Nikon version is now not only available in the store, but is supported in the new firmware update that was just released. More »
All has been quiet on the RED front concerning the new Dragon sensor since NAB in April. After their kickoff party before the start of the exhibition, they announced the specifications of the updated sensor. One of the criticisms of the MX sensor has been lower dynamic range than some of its peers, like, for example, the Arri Alexa. RED seems to be gunning straight for that camera with a reported 15 stops or more of dynamic range and 6K of resolution with a sensor only slightly larger than MX. Now we’ve got a little more confirmation on sensitivity of the $6,000 EPIC upgrade (SCARLET pricing and specs will come later). If the numbers from RED’s CEO turn out to be true, it would mean that the new Dragon sensor would be a little more than twice as sensitive as the MX, even with smaller pixels. More »
Even if you don’t own a RED, there’s a good chance you will find your way onto a set with one at some point in the future. The SCARLET and EPIC cameras can be controlled via the 5″ touchscreen, but if the camera is high up on a jib or on a stabilizer, it’s very helpful being able to change settings and start/stop wirelessly using the REDMOTE. The REDMOTE was in heavy backorder for a long time, but it seems like it’s available right now from the RED store. The tutorial below is a great way to get a head-start if you’re unfamiliar with RED and their accessories. More »
The fact that interchangeable lens cameras have given rise to the usage of increasingly older lenses is immensely fascinating and has produced some rather fantastic results. By far the most interesting setup that I’ve see so far is from Jeremy Osbern who sent me this contraption he built using a lens designed for Kodak by Bausch & Lomb. Originally the possibly 100-year-old lens (or older) was designed for large format cameras, and thus Jeremy built a type of bellows system to achieve proper focus. Check out some of the photos and the video he made using the lens below. More »
RED just recently announced a significant firmware update, and in what will surely be music to the ears of many, according to Jarred Land of RED, the costs for their raw stock of SSDs has gone down dramatically. Therefore they will be lowering the prices across the board for REDMAGs. Since RED uses proprietary firmware and housings with their drives (unlike say Blackmagic with their Cinema Camera), the only choice EPIC and SCARLET owners have is to use RED-branded media. But when are they coming and how much will the price drop be? More »
If you’re a RED owner or you’ve been following the company, you know that they’re constantly updating their hardware and software to add more functionality as well as fix bugs. One of the bigger releases recently was an update to their color science which included a new color preset that supposedly can give great results without much fiddling. It should be noted that the other cameras competing in the high-end cinema space, the Sony F65 and the Arri Alexa, have both also been receiving a steady stream of firmware updates that also add functionality. For example, the F65 added playback in-camera not too long ago — so it’s clear that these high-resolution cameras require a bit more engineering since they are basically computers with lenses. For what’s new in version 3.3, check out the video below: More »
So Many New Camera Tests it's Hard to Keep Track: Phantom Miro, RED SCARLET, Sony F3, and Canon C300
We’re trying to share more actual shorts and not just camera tests here, as a difference of one stop in dynamic range from one camera to the next is not going to make or break your narrative or doc. From DSLRs costing hundreds to 4K cameras costing tens of thousands, there is a great camera out there for your budget. Still, one question all filmmakers will be asked is, “what do you want to shoot on?” and so it’s still handy to keep tabs on what’s available. Here are several new tests of some of the latest large-sensor imagers: More »
Subzero temperatures. Sunlight filtering through an afternoon forest onto bright white snow. Actors wearing shiny silver outfits, running from direct sunlight to shadows. No neutral density filters and no polarizing filters. No bounce cards and no lights. No tripod. Collectively, all of this makes for some of the worst conditions you could use a camera in. On top of this, it wasn’t even my project, so I was essentially filming a behind-the-scenes featurette with no ability to direct the actors. This was not a project from which to produce a great reel; it was simply a way to put a camera and a new set of lenses to a (freezing) test. With all of those disclaimers, if you care to see the footage, here it is. More »
JAG35 at NAB 2012: a $1300 Wireless Follow Focus, Friction Follow Focus, RED Rig, and Slider
JAG35 makes one of the cheapest wireless follow focuses in existence. Now they’ve improved upon their design and made the entire system much more durable. They also are introducing a clever follow focus that is friction based for newer lenses, but doesn’t have to be mounted to the side like many other friction-based follow focuses. I talked with Jehu Garcia from JAG35 and he introduced those products, as well as a custom RED Scarlet/Epic rig and a new slider they are developing. More »
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