Jim will be joined by James Lucarelli, Manager, Global Sales and Product Education at RED Digital Cinema for June 23rd’s Liquid Lunch and Learn dealer webinar to see the new […]
RED Digital Cinema recently announced the V-RAPTOR 8K VV. The V-RAPTOR ST 8K VV is the most powerful and advanced RED cinema camera ever! Featuring a groundbreaking multi-format 8K sensor- […]
Red Digital Cinema’s entry into the cinema camera world is regarded by many in the industry as a revolution in professional film and video. In 2007 when Red was introduced major names like Panasonic and Sony dominated the market, and while they still certainly have their place, Red has also carved out a place for their excellent cameras.
Bethel Production’s Drake Kelch and Jesse Maitland invite their audience into their discussion about the RED Komodo and why users should consider it for their broadcasts.
Compact cinema camera featuring RED’s unparalleled image quality, color science, and groundbreaking global shutter sensor technology in a shockingly small and versatile form factor
The RED 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.
One of the most talked about upcoming products in the cinematography and production world this year has been the RED Komodo 6K. And it’s finally on the way.
William Rexer: There are 10 episodes and they averaged about 12 days per episode. Fred Elmes shot the pilot. He started slightly before we began the series. Due to scheduling issues, we were all working at the same time. Essentially, we were completing episode eight as the pilot was finishing production. It wasn’t like a traditional show where the pilot was done first, analyzed as to what worked and didn’t work, and then the individual episodes began. Instead, it was all happening at once. Most of HUNTERS was shot in the New York area. Ten days were done in Budapest. We finished shooting last March.
Philip Grossman is an adventure documentarian. He’s traveled the globe to the most inhospitable locations including Chernobyl (nearly a dozen times), Baikonur Cosmodrome and Semipalatinsk the home of the former USSR’s nuclear bomb testing program. Philip trusts the RED camera technology to deliver motion and large panoramic stills capture.
“We tried hard to tell the story from Sheeran’s perspective and to give the audience a feeling of their own memories and lives,” Prieto explains. “Having read the script and the book, it felt to me that representing the passage of time would be more appropriate for the texture of motion picture film negative. Scorsese referenced the patina of home movies, but he specifically didn’t want it to look like Super 8 or 16mm, so that started the whole process of researching how to achieve a feeling of memory.”