What makes Red Cameras so special? 4KShooters.net has created an article to answer that question, detailing the 10 things they love most about Red Digital Cinema. We’re taking a look at some highlights from that article, below.

THE RESOLUTION

From the start, Red has always been a high-resolution company. Most new computers can’t even play 8K footage, but Red has been making 8K cameras for the last 5 years.

That added bump in quality comes with a lot of advantages.

• Low Light Capabilities
  • With so many pixels, you’ll see an increase in low-light capability when you downsample the image to your final resolution for delivery.
  • The added noise from shooting in low-light is hidden when downsampling.
  • This is certainly true for downsampling, but an imager with fewer pixels and larger photosites can produce even better native resolution low-light images.
• Reframing in Post
  • When you film in 8K, you’re filming at a resolution that is 16 times higher quality than HD which offers you the ability to zoom in and reframe in post.
  • Though it is nice to have this ability, think about what you’re losing when you give up this level of control as a DP. Composition IS photography. If someone else is recomposing your shots afterward, you are no longer the Director of Photography. You are just a cameraperson.
• More Image Detail
  • Filming in 8K means that each and every frame that you shoot is big enough to be printed and displayed on a billboard along the highway without scaling!
  • Some professional photographers have used Red cameras to shoot high resolution still images for ad campaigns.

FILMING IN RAW

When filming with the Red, you can go back in post to adjust exposure and white balance meaning almost nothing is set in stone until you’ve rendered the locked master of your project.

Ok, lots of cameras can film in raw now but Red was the first camera to offer this ability for shooting video and that is actually kind of a negative. Red invented the compressed raw codec and has a very tightly held patent on the technology. This is why we don’t see a flood of cameras and phones that can shoot in ProRes Raw internally.

And although I’d love to see a camera with internal ProRes Raw recording, the lose of this patent would spell out a death rattle for Red and nobody wants that. They’ve been at this for 13 years, and their raw codec arguably offers the best file sizes, color, quality, and latitude.

VARIABLE FRAME RATES

Though other cameras that have caught your eye might have had the ability to shoot at high speeds, Red’s cameras offer fully adjustable frame rates. This means that you can film at any speed from 1 FPS to your camera’s max FPS and every possible speed in between.

As Nick explains it, this feature can be very useful in filming a music video. For performances, the song is often played at a slightly faster speed and the band pantomimes the performance to match the speed of the playback. When slowed down in post, this has an otherworldly effect that makes the group really stand out and look like they’re playing in slow motion.

Since most cameras vary to a fixed 24, 60, 120, 240 FPS setting, they’re too fast for the musicians to keep up and that makes the effect look a bit weird on top of that.

Check out the full article, HERE.

Learn more about RED Here.

The RED Komodo is a crazy small cinema camera that shoots 6K R3D Raw internally.

KOMODO 6K is the latest breakthrough product in RED’s long line of innovative image capture technology. The newest entrant into the RED lineup is a compact and highly powerful cinema camera. It features RED’s cinema grade image quality, color science and sensor technology into a portable form factor so users can take it anywhere and adapt it to any shooting scenario. ​

The new sensor in KOMODO is a 6K S35 global shutter sensor that breaks new technical ground by eliminating the need to sacrifice dynamic range and meets the RED standard of unmatched imagery without any creative or technical compromises. KOMODO also features a built-in Canon RF mount allowing users the flexibility to use numerous different lens adapters, such as Canon EF, PL and Leica M mount. KOMODO also has a DC IN power port and can also be powered using two Canon BP style batteries.

Check out this Broadfield Webinar on the RED Komodo here!

Watch the original video here!

Learn more about RED here!

The RANGER HELIUM 8K S35 and RANGER GEMINI 5K S35 is available now via RED’s global network of resellers, participating rental houses, and directly through RED. The two new alternatives now announced create a robust lineup, says RED, for creators who prefer an integrated, all-in-one system to the more modular RED DSMC2 camera. The cameras will be on display for the first time at IBC in the RED meeting room on the fourth floor of the Elicium at the RAI Amsterdam, from September 13-17.

Designed to meet the needs of high-end productions, the RED RANGER MONSTRO 8K VV has been well received by cinematographers since its launch earlier this year, and remains a rental house-only product, according to RED Digital Cinema.

Three sensor variants

The company says that all three sensor variants of the RED RANGER camera system include the same benefits of the compact, standardized camera body, weighing around 7.5 pounds (depending on battery). The system can also handle heavy-duty power sources to satisfy power-hungry configurations, and boasts a large fan for quiet, more efficient temperature management.

The RED RANGER camera system consists of three SDI outputs (two mirrored and one independent) allowing two different looks to be output simultaneously; wide-input voltage (11.5V to 32V); 24V and 12V power outs (two of each); one 12V P-Tap; integrated 5-pin XLR stereo audio input (line/mic/+48V selectable); as well as genlock, timecode, USB, and control. Both V-Lock and Gold Mount battery options are supported.

As with all current RED cameras, the RANGER can simultaneously record REDCODE RAW plus Apple ProRes or AVID DNxHD or DNxHR at up to 300 MB/s write speeds. It also features RED’s end-to-end color management and post workflow with the enhanced image processing pipeline (IPP2).

RED now offers two separate but equally robust product lineups that give content creators more creative choices. The DSMC2 ecosystem continues to provide the most dynamic and modular cinema camera for users who value maximum flexibility, allowing their imaginations to run wild with configuration options. RED RANGER is the perfect option for those that prefer a less complex and more standardized alternative.

Feedback from customers

“In collaboration with rental houses to bring the RANGER MONSTRO to market, we have heard great feedback from customers, inspiring these two new variants,” said RED Digital Cinema President Jarred Land. “We’re excited to offer the RANGER line-up to a wider variety of professional productions and look forward to seeing the amazing images that are created.”

RANGER HELIUM and RANGER GEMINI ship complete with:

• New Production Top Handle
• Shimmed PL Mount
• New LCD/EVF Adaptor D with improved cable routing when used on the left side of the camera
• New 24V AC power adaptor with 3-pin 24V XLR power cable, which can also be used with 24V block batteries
• Lens mount shim pack
• Compatible Hex and Torx tools

Additionally, RED plans to introduce Canon EF Mount versions of both RANGER HELIUM and RANGER GEMINI later this year.

Read the original article here!

RED DIGITAL CINEMA introduced a new DSMC2 GEMINI kit offering a comprehensive solution for cinematographers who shoot in a variety of environments. Add a lens and you’re ready to go!

The newly packaged system offers cinematographers a complete solution (lens not included) to start shooting while being able to tackle a variety of situations. It’s interesting to see that as Panavision introduced, at Cine Gear Expo 2019, its new DXL-M, which marries the modularity and connectivity of the DXL with the smaller size and weight of RED’s DSMC2 cameras, to offer a fully-equipped camera that is conveniently adaptable to any shooting scenario, RED presents a solution that, as the company states, offers, “a comprehensive solution for cinematographers who shoot in a variety of environments.”

At the heart of the new system is the DSMC2 camera BRAIN with the GEMINI 5K S35 sensor, which leverages dual sensitivity modes to provide greater flexibility in a variety of lighting conditions. GEMINI is RED’s highest sensitivity sensor to date and offers significantly increased performance in low-light settings and improved performance in shadows. Filmmakers can shoot in standard mode for well-lit conditions or low-light mode for darker settings, and operators can easily switch between modes through the camera’s on-screen menu with no down time.

Compatible with multiple accessories

With features like cable-free peripherals, integrated media bay, wireless control, and more—DSMC2 GEMINI is also compatible with a growing arsenal of modules and accessories—from RED and other third-party manufacturers. Tack on interchangeable OLPFs and lens mounts and DSMC2 GEMINI gives you the ultimate control over your footage.

The new DSMC2 GEMINI Kit features:

DSMC2 GEMINI 5K S35

DSMC2 RED Touch 7.0” LCD

DSMC2 Outrigger Handle

DSMC2 V-lock with I/O Expander for a variety of input/output selections

S35 AI CANON Mount

IDX Duo C98 Battery and IDX VL-2X Battery Charger

RED Mini-Mag (960 GB) with G-Technology EV Series Reader

Heavy-Duty Camera Case

The RED DIGITAL CINEMA DSMC2 GEMINI is capable of data write speeds of 300 MB/s, and can simultaneously record in REDCODE RAW and Apple ProRes or Avid DNxHR/HD. The kit provides a premium bundle that is “ready to shoot” when paired with the user’s chosen lens. The newly packaged system is available for purchase on RED.com and RED Authorized Dealers priced at $27,500!

Read Original Article HERE!

Learn more about Red Digital Cinema HERE!

Announcing the 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

NAB 2019, Las Vegas, NV – Broadfield Distributing, Inc., a proud distributor of RED Cameras, is pleased to announce the addition of Core SWX(“Core”) batteries, chargers and bundles to better service North American RED camera dealers.

Broadfield and Core have developed select RED battery bundles with HC9 Mini RED battery packs and charger options, at a price that makes it the perfect attachment for every RED Digital Camera purchase. These bundles will be made available to all RED dealers immediately and shipped direct from Broadfield’s newly expanded Long Island, NY warehouse.

Gary Bettan, President of Broadfield Distributing said “We are always happy to expand our product lines, but I am always most proud when we can bring our dealers the products and solutions that THEY ask us to carry. Since we started distributing RED last October Core SWX has been at the top of the list and the new bundles are a natural upsell.”

Since the release of DSMC2, Core has been the preferred battery option for powering RED cameras. The HC9 mini battery packs were designed to fit the RED DSCM2 camera’s compact profile perfectly, and offers a 98wh capacity which can sustain draws of up to 12A. The battery packs have been used on productions with RED cameras spanning from wildlife expeditions to prominent sporting events.

“We’re excited to add Broadfield as a partner in our efforts to continue to support the RED market,” says Ross Kanarek, CEO, Core SWX. “The bundles provided give RED dealers as well as RED users, the ideal option for powering their camera systems.”

The complete Core SWX catalog will be available from Broadfield Distributing, Inc. and the special RED bundles will be stocked immediately.

Call a Broadfield sales representative at 800-634-5178 or e-mail broadfield@broadfield.com for pricing and information.

Broadfield Distributing Inc. has been the leading distributor of video editing and production equipment since 1980. We have grown with the changes in the industry and now we are pleased to offer hardware and software systems from more than 40 manufacturers and thousands of products in-stock, ready to ship. In the past 30 years we have been proud to call thousands of dealers our loyal customers, and friends, and we look forward to the next 30 years of success! Learn more about the advantages of buying from Broadfield at www.broadfield.com

Core SWX is the market leader in batteries and charging solutions for the digital cinema and the professional video industries, along with emerging markets such as drones and virtual reality. Our flagship products, including the Hypercore line of batteries, remain at the forefront, providing the power to create in a variety of applications. Compatible with leading professional and consumer manufacturers, such as Sony, Panasonic, Canon, RED®, Blackmagic Design and more, Core SWX stays ahead of the curve in a technology-driven era that is constantly evolving. For more information, visit www.CoreSWX.com.

Click here to watch on YouTube.

RED upgrades its Dragon sensor to IPP2 with the new “Entry-Level” Dragon-X option.

Just a few short months ago, RED simplified its product line and introduced a price cut to make it easier for filmmakers to navigate its offerings. RED would now offer three sensors built around the same DSMC2 body: the 8K Monstro (Full Frame), the 8K Helium (Super35mm) and the 5K Gemini (Super35mm, and dual ISO). 

While there was a price cut involved in this reognization, it still left RED users without an “entry level” RED option that offered the full power of the DSMC2 body, which RED is addressing today with the new  DSMC2^® DRAGON-X 5K S35. Let’s look at this new camera – as well as some other less-pricey “entry level” options… read more

I’ve worked on many documentary films and narrative work shot in cinéma vérité style, so I’ve always held the idea of a self-contained, “take-on-all-comers” camera close to my heart. With new camera bodies like the GEMINI making short work of low available light situations, and a plethora of powerful third-party accessories to add important functionality, RED cameras are in a better place than ever for this type of work.

A good documentarian becomes a “fly on the wall”, and their subjects forget they’re there. Likewise, a good doc camera gets out of the operator’s way. This kit, which I nicknamed “Herzog”, includes the accessories I’ve used in these types of environments. I also describe how I rig to make the camera an extension of me, rather than a piece of gear I have to babysit.

CAMERA BODY & RIGGING

ARRI makes some of the most robust rigging in the industry, and once installed, their LWS Broadcast Set for DSMC2 can live on the camera due to its high level of adjustability. Being able to quickly switch from tripod to handheld without having to remove or replace the shoulder pad is invaluable in a doc setting. This rig also includes plenty of extra mounting points when needed, and the included RED EVF/monitor LEMO port and 3-pin record/stop are just icing on the cake…read more

…The RED cinema camera line up, from the outside has always been quite a confusing one to follow.

When the company announced a unification earlier in the year, we wrote a layman’s terms articleexplaining the formalisation to just 3 camera bodies.

RED has just announced a 4th body, The RED Dragon-X DSMC2.

How does it fit in?

Sticking to our simplistic overview of the REDs camera bodies, the new Dragon-X is the “5K Super35mm one”, with a sensor measuring 25.6 mm x 13.5 mm (Diagonal: 28.9 mm) and max resolution of 5120X2700.

RED bill it as the “work horse”, and rightfully so. It shares a lot of similarities to the Scarlet-W (same sensor size and resolution), to some this will be the most production-friendly RED yet (without getting specialist in Ks and lowlight) resolving a snip over 4K at Super35mm…read more