Bob Cranston and Johnny Friday have made their living diving into the depths of the ocean to give you larger than life images. With an impressive resume of IMAX 2D and 3D underwater features, these men have a wealth of large format experience that puts them in an upper echelon of photographers.
Since the original RED EPIC was released, shooting for the big screen has never been easier for the duo. Fifteen person crews has been pared down to two and the size of both the boat and camera rig has gotten significantly smaller.
For the first time ever, a digital cinema camera has been tested alongside leading stills cameras in the independent DxO Mark sensor rating database – and it beat out all of the competition with a record score of 101 points. Results from the new RED DRAGON sensor make one thing clear: the line between cinema and photography has been officially blurred, if not erased.
DxO praised the new DRAGON sensor, noting that it had “the highest color sensitivity ever measured” and complimented the “very clean looking files” that could be captured safely at ISO 3000. The data DxO Mark provides offers a detailed comparison of image quality using RAW files taken from over 250 different cameras. Information which is then processed and rated based on performance.
Chip Yates designs and races electric motorcycles, winning AMA championships and setting world records with his own creations. He has also taken his designs to the air, creating a fleet of powerful electric airplanes that feature the type of scorching speed that continues to put him in the record books.
Although he makes it look easy, Chip spends countless hours testing and working in an effort to push the envelope continually. Part of this process is documenting flights in a way that can be easily and effectively scrutinized — which has been made easier with the high resolution and frame rates their RED EPIC offers.
We’re actually able to slow it down so much that we can see technical problems. We can see wing flutter, we can see small oil leaks.
Check out the RED BTS video to hear more from Chip and see the footage they captured on yet another record breaking day.
VICE’s EPICLY LATER’D recently spotlighted Geoff Rowley, the 37 year old skateboarding legend from Liverpool. Throughout his 25 years of skating, Rowley has won Thrasher’s “Skater of the Year” award, retained part ownership of Flip skateboards, and has had his own line of Vans shoes for 15 years. As his style of skating has evolved, so have the cameras that capture his notoriously brave tricks.
Enter Greg Hunt. Hunt, as featured in our RED Collective series, has made his living filming tricks that help define and immortalize skaters. But according to Hunt there is something unique about shooting with Rowley.
Working with Geoff is totally unlike working with anyone else. It’s like half a skate mission and half adventure / exploration / kind of mountain journey.
Hunt is seen setting up his EPIC to shoot Geoff skate down what appears to be a hill-hidden concrete ditch. Throughout the EPICLY LATER’D video, images of Geoff captured from all types of cameras and formats are stitched together to tell the skate veteran’s story from beginning to end. Thanks to Greg Hunt, Geoff can be sure his story will continue to be documented with images that (like Geoff) will stand the test of time.
Young, ambitious, and obsessive – all of the qualities that make up an emerging creative force can be found in Khalid Mahtaseb. From lensing National Geographic’s Killing Lincoln to Killing Kennedy, Khalid is getting noticed for his surgical precision of camera and lighting – and it didn’t take him long. In a great interview with The Music Bed, Khalid reveals just how natural the transition to the professional world was for him.
At last year’s Broadcast India show, RED presented this short interview with Peter Collister, ASC. RED had given Collister an EPIC DRAGON to review. In the interview, Collister summarizes his history with RED cameras and discusses his test of the DRAGON. He focuses on skin tones, summarizing: “Basically, skin tones are what makes cinematographers…survive.”
Skin tones are the real thing that I want DRAGON to excel at and I think it really does. In fact, it’s how different shades of color in people’s faces…everybody from the palest goth to the ruddiest Irish person has so many shades of color in their face. And I wanted to test how those blended together. Whether they were blotchy as some older sensors created or whether there was a smoothness in how they blend from one color to another. To see how those different shades blended together and I was very pleased with that outcome. This, I think, will make clients and agencies and producers and directors just happy to be watching a monitor period.
At Broadcast India, RED presented Collister’s DRAGON test and color corrected his footage live to highlight the 6K DRAGON sensor’s dynamic range, resolution, and color science.
UPDATE: On February 24, REDucation Los Angeles is offering an exclusive master cinematography class with Peter Collister, ASC (The Amazing Spiderman, The Rock, Arrested Development), aimed at experienced RED owners and operators. For more information click here.
REDucation is kicking off this year with a record breaking number of classes that will be educating RED students across the world. Participants in over 9 countries will learn RED technology inside and out, enrolling in a curriculum that spans everything from pre to post production. Attendees will learn from RED specialists and industry leaders who are excited to share their detailed knowledge, tips, and tricks.
2014 marks the first year we’ve ever packed this many classes into our international programs and we look forward to sustaining the level of academic quality that brings students in year after year.
Next stop for REDucation is London, UK February 17th-19th followed by Los Angeles on February 24th-28th.
Founded by Jake Burton Carpenter, Burton Snowboards emerged onto the scene in 1977 and has been synonymous with snowboard culture ever since. Today Burton is one of the largest and most recognizable snowboarding brands with the world’s top professional snowboard team that includes: Shaun White, Terje Haakonsen, Nicolas Müller, Jeremy Jones, Danny Davis, Zak Hale, Jussi Oksanen, Kelly Clark, Hannah Teter and Kimmy Fasani.
For the newest RED Collective, RED spoke with Burton’s Global Director of Team Marketing and Media, Bryan Knox, who opens the doors to Burton’s story and philosophy.
Burton’s media team shoots around the globe on a combination of EPICs and SCARLETs. Check out their web video series, [ Snowboarding ] at Burton.com.
John John Florence is the Hawaiian-born surfing phenom who has been using RED cameras to capture his wave riding excursions. His latest piece, Enjoy, is a B&W dominant short documenting his travels in Europe with footage captured by Blake Vincent Kueny and Erik Knutson. Florence’s surf documentaries have developed a strong following, as the consistency and tonality of his projects continue to be well received by audiences world wide. Stay tuned – at age 21, many more adventures lie ahead for John John Florence to document.
Capturing wildlife involves a camera that is fast, lightweight, and versatile. Which is why a tapeless, high-speed, digital cinema camera makes the most sense for nature photographers and cinematographers alike. National Geographic filmmaker Mark Emery and nature cinematographer Joe Poncorvo are no strangers to this, which is why when they go out into the field, they take their RED EPIC with them. Poncorvo tells us:
Not only does EPIC capture a raw image but it does so at 2K-5K. Combined with high frames rate, it’s a natural for natural history
High-resolution content provides National Geographic’s audience with unparalleled image detail and provides cinematographers and editors with flexibility in post-production. Mark Emery explains how he leverages the EPIC’s 5K imagery for his benefit:
Because the image is so massive and our final product is for TV, I can grab matched close ups of single bears from my master shot of several bears, in post. That reduces lens changes so I can follow the action.
Many of the same lenses used for wildlife photography may be used with the RED EPIC or SCARLET, with Canon and Nikon mounts that are simple to mount and swap. Instead of having to purchase or rent heavier PL mount lenses, they can use the same glass and leverage the EPIC’s high-resolution and high frame rates.