RED RANGER

RED’s Post Production and Workflow Specialist, Dan Duran, will be presenting at the inaugural 8K Seminar on April 10 in Room N221-222 at 11:05 a.m. Duran will share the benefits of 8K from acquisition to post, followed by a panel discussion with moderator and organizer Chris Chinnock. At Adorama (Booth C4446) on April 8 at 4pm, Duran will discuss the value and benefits of REDCODE RAW with Cinematographer, Kaity Williams, and host, Steven Pierce. Duran will also discuss new post technologies with Cinematographers Philip Grossman and Phil Holland on April 9 at 2:30pm at NAB Live Stage (located between Central and North Halls).

Visitors to the RED Demo Room will experience real-time playback, edit and color grade of 8K footage by offloading the compute-intensive decoding and debayering of R3D files onto one or more NVIDIA GPUs.

RED will also provide live demonstrations of its latest sensor technology at NAB, including the MONSTRO^® 8K VV and GEMINI^® 5K S35. The DSMC2 MONSTRO delivers the most comprehensive lens compatibility in the industry and users can nimbly transition from 8K Full Frame to 6K Super 35, and down to 4K by simply changing their resolution. The DSMC2 GEMINI leverages dual sensitivity modes to provide greater flexibility for a variety of shooting environments including exceptional low-light performance. Recent productions that have chosen these sensors to tell their stories include “Mindhunter” (season 2), “Bosch,” “The Dirt,” “The Witcher,” “The Village,” “Sneaky Pete” (season 3), “Peaky Blinders” (season 5), “Now Apocalypse,” and “Tidelands,” as well as the upcoming “Stranger Things” (season 3), “6 Underground,” “Maleficent: Mistress of Evil,” “The Aeronauts,” “A Million Little Pieces,” and “Sextuplets.” Click here to read the full article.

While Facebook has been fine tuning its Oculus Headset into a more affordable virtual reality option, the one thing missing from the equation has been content creation. While the company closed its VR studio back in 2017, it’s now looking to create a virtual reality camera, and is joining forces with RED to do it. Could this the next module for the Hydrogen holographic mobile phone?

“We’ve been on a quest to build immersive capture technology for years,” said Facebook director of engineering Brian Cabral in an interview with Variety.

Outside of sheer speculation, that’s all we have at the moment. There’s no details other than what Facebook announced this week at the annual f8 Developer Conference. The prototype was showcased back in 2016, and a second generation highlighted at the conference last year. At that time, Facebook told developers that it was looking to partner with several hardware manufacturers to produce them. Now it looks like they’ve found a major provider that not only can produce the VR cameras, but take it to a level unseen until now.

“Depth reconstruction is only as good as the image data that you can capture,” said Cabral this week. “The pixel quality matters a lot (and RED) is a partner that has on-set experience….read more

About La Cumbre: La Cumbre unveils the reality of what it means to live as an amputee in the developing world. In partnership with the Range of Motion Project (ROMP) we join world class mountaineer and wounded warrior Chad Jukes on an heartfelt journey to shed light on a public health issue affecting amputees worldwide.

About ROMP: ROMP is a non-profit, for-impact healthcare organization dedicated to providing prosthetic and orthotic care to those without access to these services.

Next Generation Filmmaking

RED sparked the 4K revolution in 2007 and established a trend in stunningly rich, ultra-high-definition filmmaking that continues through today. This industry transition disrupted traditional workflows with digital-era rapidity, and each sensor generation, while giving creators unprecedented image quality and creative potential, also imposed a fresh set of demands. Much of that shifting workload fell to storage. With effective storage from the likes of G-Technology, demanding video workflows become a breeze and data is stored reliably. G-Technology partnered with RED to be as close as possible to the “capture” stage of next-generation filmmaking — and thus developed the Evolution Series Reader for RED MINI-MAGs. RED appreciated G-Technology’s long-proven commitment to quality, performance, and understanding the detailed needs of creative professional workflows. With G-Technology solutions, RED artists can bring their visions through production with high throughput speed, quality assurance, and simplicity.

Maximize Your Red Workflow

Designed to optimize and simplify your RED camera workflow, the ev Series Reader RED MINI-MAG Edition leverages high-performance connectivity for fast and simple RED footage transfers and backup. You can transfer content quickly from a RED MINI-MAG media card onto any G-DOCK ev® docking station, G-SPEED® Shuttle XL with ev Series Bay Adapters. When shooting on the go, simply slip it into the watertight protective ev All-Terrain Case for added protection. The ev Series Reader RED MINI-MAG Edition is the perfect companion for your RED workflow.

Jim Jannard has made a career out of revolutionizing lenses. His first business was sunglasses brand Oakley, which started out of his car with $300 in 1975. After going public in 1995, it later sold to Luxottica for $2.1 billion. In 2005, he founded RED Digital Camera, which reimagined how to build high-resolution cinema cameras. It has since become a favorite of directors from James Cameron (Avatar) to Ridley Scott (The Martian) to Peter Jackson (The Lord of The Rings, The Hobbit).

Now the University of Southern California dropout is launching his third act, and it may just be his biggest yet. RED released an augmented reality/virtual reality smartphone on Thursday July 6. According to Jannard, the phone can easily transition from traditional 2-dimensional content to holographic media, 3-dimensional content or interactive games — without the need for any glasses or headsets. Called Hydrogen One, the Android OS smartphone is being touted by RED as “the world’s first holographic media machine” due to its “additional features that shatter the mold of conventional thinking.”

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RedShark News

Recently we’ve been working with RED and G-Technology to look at some of the issues surrounding working with greater than 4K resolutions. This time, we’re looking at workflows.

First of all, let’s look at why you might want to work in 8K.

Of all the possible reasons, the least likely one right now is that you’re going to show your work in 8K resolution. Options for 8K display are extremely limited. This will change, and no-one knows how quickly. (Everyone said when 4K came out it would be decades before it was in common use and now 90% of the TVs in the shops are 4K.) But now that you can shoot in 8K, it makes sense to preserve that extreme resolution as long as you can. Why? Because everything derived from your 8K “master” will look better, from cinema all the way down to a YouTube video viewed on a smartphone. 

8K has a certain “smoothness” that virtually eliminates aliasing and other digital artefacts. But it’s sharp, too. If you need to reframe your shot, 8K lets you do that without any visual loss. What’s more, 8K captures the “look” of a lens or a cinematic technique better than lower resolutions. Sometimes you need detail to capture the “feel” of a set-up. ..[continue reading]