Asgeir Helgestad is an award-winning wildlife photographer, filmmaker, and author who has devoted his attention to capturing the natural and environmental essences within his home country of Norway. From the steep Fjord valleys in Hardanger, to the tuxedoed King Penguins in South Georgia, Asgeir has applied his calm, patient demeanor to capture the feelings and soul of the natural world around him.
For the next profile in the RED Collective series, we reveal Asgeir’s passion for wildlife as he treks through harsh winter habitat to capture the everyday lives of wolves, bison, and bighorn [sheep].
Asgeir uses his EPIC to shoot motion and pull stills. Check out his work at www.articlight.com.
RED Digital Cinema® is pleased to be exhibiting at the National Association of Broadcasters show in Las Vegas, NV April 7 – 10. Throughout NAB, RED® will be showcasing an array of innovations that proves RED® is the best all-in-one option for filmmakers and photographers alike.
This year’s Sundance Festival highlighted the growing trend of independent filmmakers moving from traditional film into the realm of digital cinematography, as most of the productions this year were filmed completely with digital cameras.
This year, Dear White People, was one of the many projects that were garnering buzz through its inventive means of funding. Filmed on a REDEPIC, the movie pushed the boundaries of what you could accomplish with a limited budget. Writer/Director, Justin Simien, took a nontraditional route by first filming a trailer for the movie using $2,000 to gain funding for his vision. In June 2012, Simien launched an Indiegogo campaign that gained so much traction, it received the first-ever Indiewire Project of the Year Award before filming even began.
The production recently premiered at the Sundance Film Festival with Simien taking home the U. S. Dramatic Special Jury Award for Breakthrough Talent. While a public release has yet to be announced, the movie’s fan base – “Dear White People Union” – has continued to grow in size and anticipation.
Royal Caribbean recently made an upgrade to their Navigator of the Sea cruise ship, adding a virtual balcony to each of their interior staterooms. The virtual balcony consists of an 80 inch HD display featuring a live feed from RED EPICs positioned on the stem and the stern of the cruise ship. Durability was a huge concern for the project, since the cameras would have to provide a consistent feed while exposed to the elements – including sun, salt water, and wind.
Whether the cabin’s “balcony” faces the front or the back of the boat determines if they display the video from the camera mounted on the bow or stern. By displaying the frontal view on a forward facing screen, passengers are less likely to experience sea sickness since the physical motion mirrors what they’re looking at.
Mounted with a wide angle lens, the RED EPICs provide a panoramic view that allows customers to feel like they’re experiencing the most coveted views on the ship first hand. While some may consider an inner stateroom to be less than ideal, those passengers will now be able to take in every sunrise and sunset in HD.
Earlier this year, cinematographer Santosh Sivan, ASC, was presented with the Padma Shri award for his accomplishments in Indian cinema. The Padma Shri award is the fourth highest award given to an Indian citizen and is bestowed directly by the Government of India.
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 REDEPIC 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 REDDRAGON 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 REDEPIC 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 REDBTS 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 EPICDRAGON 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.
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.
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 REDEPIC 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 REDEPIC 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.
Reebok’s Spartan Race is not your ordinary marathon and RED user Greg Harris created this video to prove it. Taking advantage of the EPIC’s slow motion and run-and-gun capabilities, Greg captured obstacle course participants jumping through fire, crawling through mud, and sprinting through the elements. Check out the trailer for this grueling event and see how these Spartans (and the EPIC) fare in these tumultuous conditions.
The second annual Shot on RED Film Festival was held December 5th, 2013 at Thunder Studios in Long Beach, California. Taking home the Festival Prize was “Close” by Johan Lehman and Jon Lindroth from Sladgeproduction. RED spoke to Johan about the film and the win. “Close” had a unique beginning:
This project started completely backwards actually. The local fire department was going to burn down an old house. So they contacted us and asked us if we wanted to take the opportunity to shoot something. Of course, we had to shoot something. But what? So the brainstorming started. We had two weeks to set everything up and get ready because the date when the house was gonna burn was set in stone.
RED accompanied Tempt Media on their trip to Ensenada, Mexico to cover the Baja 1000. The resulting footage from both Tempt and RED crews is a stunning demonstration of cameras versus the elements. Through rain, dust, heat, sweat, and blood, Tempt covered all 1300 miles of the race from the air and the ground. RED was with them the whole way and captured great moments with the crew as they discussed their team, their gear, and their work.
Tempt Media has even more great RED coverage on their site.
Steven Soderbergh’s Behind the Candelabra took home the Golden Globe for Best TV Movie or Miniseries last night. In addition, Michael Douglas won Best Actor in a Miniseries or TV Movie for his portrayal of Liberace. Robin Wright won Best Actress in a TV Series, Drama for her work on House of Cards.
Both House of Cards and Behind the Candelabra were shot on RED cameras. RED looks forward to more amazing work from these creators and congratulates all the winners from last night.
Uncle Toad’s Media Group (UTMG) has been shooting surfing events for nearly a decade. As they’ve increased their reach, they’ve improved their tools. From cutting-edge mobile DIT/editing stations to their choice of camera, UTMG is constantly improving their capture and workflow. The week before they headed to Hawaii to cover the Vans Triple Crown of Surfing, RED spoke with Jordan Velarde and Chris Steblay about their process, their history and their recent success shooting the US Open of Surfing on RED cameras.
Patagonia has not only established themselves as the leader in outdoor clothing and gear but also set the standard for what it takes to be an environmentally responsible company. They do so by continuously implementing new technologies to reduce their impact on the environment while donating 1% of their sales to preservation and restoration for the planet. RED is delighted to highlight Patagonia and their talented staff photographer / directory of photography, Tim Davis, in the newest RED Collective segment.
Tim Davis produces videos and photographs for Patagonia’s website and catalog. To capture authentic images of the harsh conditions that their clothes and wetsuits have to endure, Tim travels around the world to shoot Patagonia’s Ambassadors (professional athletes) which include such big name surfers as: Gerry Lopez, The Malloy Brothers and Kohl Christensen. Tim is currently shooting on a light-weight SCARLET-X package.
For more information on Patagonia, please visit their website at: Patagonia.com
Oliver Stone’s newest commercial for the World Cup is a multi-layered take on bringing the excitement and passion of the live game to an ad. To capture that excitement, Stone and his crew turned to RED and MoVI from Freefly.
In the video above, cinematographer Rodrigo Prieto talks about their use of MoVI to get into the game itself. This MoVI / EPIC combo is ideal, as Preito says, for
…unusual shots that really are only achievable with this — with a small unit that can go through things, that can change its height. It will really change the way that shooting sometimes happens.
From complicated aerial shots to allowing an actual player to carry the rig, the MoVI handheld gimbal and EPIC combination gave the filmmakers the tools to put the viewer onto the field.
For the second installment of RED Collective, RED spotlights Aron Paul Orton – director/editor for Orange County’s largest independent ad agency, DGWB. Aron has integrated in-house technology while maximizing his team’s talents to offer DGWB’s clients with premium work. For most jobs, Aron shoots with a light-weight SCARLET-X package while working in Adobe Premiere Pro. When higher frame rates are needed, his camera of choice is the EPIC.
For more information on DGWB and to view their work, please visit their website at: www.DGWB.com
Corridor Digital made a name for themselves creating cinema-quality fan films on YouTube. Their first viral hit, Frozen Crossing, was shot on REDONE. A year later, the company acquired a SCARLET-X and continued their impressive run of short films. Routinely racking up millions of views, Corridor currently has 2.3 million subscribers to their YouTube channel and has developed into a full-fledged production company.
RED went Behind The Scenes with Corridor Digital on a pirate ship where they were filming their latest fan film set in the world of Assassin’s Creed. AC4: The Devil’s Spear was shot on an EPIC and a SCARLET. Their work takes cues from video games, music videos and action films to speak in the language of the web while bringing a theatrical vision to their work.
After taking home 3 Video Music Awards from MTV for videos shot on RED cameras, Macklemore and Ryan Lewis could have rested on their laurels a bit. Instead they wasted no time in releasing White Walls — another ambitious music video celebrating Cadillacs and a cross-section of their eclectic owners. The 6 minute video was shot over 14 days in several different locations in Los Angeles and Seattle.
Movies and Series shot on RED cameras were well-represented in Emmy nominations this year. Last night, at The 65th Annual Primetime Emmy Awards, Behind the Candelabra and House of Cards took home awards.
Behind the Candelabra — which was nominated in 15 categories — won for Miniseries or Movie. Its director, Steven Soderbergh, won Directing for a Miniseries or Movie. Lead actor, Michael Douglas won Outstanding Lead Actor In A Miniseries Or A Movie for his performance of Liberace. The film also won for Outstanding Single-Camera Picture Editing for a Miniseries or a Movie. Soderbergh — as Douglas acknowledged in his acceptance speech — also shot the movie.
Netflix Original Series House of Cards was nominated in 9 categories and won for Outstanding Cinematography for a Single-Camera Series. Creator David Fincher won Directing for a Drama Series as well. House of Cards was notably the first digital series to be nominated in the Outstanding Drama Series category.
Congratulations to directors David Fincher and Steven Soderbergh for their visionary work with RED cameras.
RED Collective unites our community of customers by showcasing their work and experiencing their unique stories. Visit red.com/collective to view RED Collective’s first subject, Greg Hunt.
Pro skateboarder turner filmmaker and photographer, Greg Hunt, has traveled the world to capture the top skateboarding talent in their most extreme elements. In RED’s first Collective feature, Hunt speaks about his love for film, skateboarding and shooting on EPIC.
The Launch Sequence is a simple how-to video designed to assist new RED camera users with the basics of RED camera operation. This video gives you all of the information you need to build a simple configuration, manage your settings, and record.
In this tutorial you will learn how to:
1. Prepare The Camera
2. Define The Project
3. Expose, Focus, and Record
Download the Launch Sequence PDF for an additional resource. Once you’ve completed this video, be sure to check out all of the product demos and tutorials available on RED.com to build on your RED camera and post-production knowledge.
Stage 5 TV — the video channel of Red 5 Studios, makers of the MMORPGFirefall — recently undertook the ambitious effort to create a cinematic live-action trailer for Firefall in full theatrical glory. The result is something greater than the sum of its parts. Full of eye-popping effects and tense dramatic scenes, the four-and-a-half minute trailer either brings video games into real life or puts viewers directly into a video game — whichever way you want to look at it.
RED was behind the scenes with their crew at Laurel Canyon Stages where they shot the trailer in practical sets and on green screen. Red 5 Studios CEO and Chief Creative Officer Mark Kern and Stage 5 TV director Noah Eichen spoke about the history of Stage 5 and their use of RED cameras to capture everything they shoot — action sports, fashion, talk shows, cinematic trailers.
RED Digital Cinema (Booth#7.H37) is pleased to exhibit at the International Broadcasting Convention 12 –17 September 2013 in Amsterdam. RED will also be showcasing 6K DRAGON footage and workflow in the IBC Big Screen room at 14:00 on Friday – 13 September – and at 16:30 on Saturday – 14 September.
Make sure to visit eu.red.com/ibc to catch up-to-date news and images of RED at IBC.
On Monday, September 9th, RED President Jarred Land introduced the REDDRAGON Carbon Fiber — an EPIC-M REDDRAGON with a carbon fiber shell and SIDESSD matched with a machined magnesium body and lens mount. The new materials reduce the weight by more than a pound off a standard EPIC.
Land announced the new body will be available to order:
Carbon DRAGONs will be available to purchase on a one-by-one, build-to-order basis starting at the end of October for $50k, first come, first serve.
In news as exciting as the new material, Land also announced that the first two REDDRAGON Carbon Fiber cameras will be shooting Game of Thrones for HBO and called it “a fitting first flight for one of our all-time favorite shows.”
Sunday night, David Fincher won the Video Music Award for Best Direction for Justin Timberlake’s “Suit & Tie” — the first music video shot on the EPIC-M MONOCHROME. The crisp black and white visuals (shot at 3200 ISO) are a throwback to videos for which Fincher has previously won VMAs — Madonna’s “Express Yourself” and “Vogue.” While most VMA winners are decided by fans, Best Direction (like Best Cinematography) is one of six Professional Categories decided my music industry professionals.
Macklemore and Ryan Lewis took home MTV Video Music Awards for Best Hip-Hop Video and Best Cinematography for their epic video “Can’t Hold Us.” The video was shot on EPICs and SCARLETs around the world and has more than 113 million views on YouTube. REDspoke with Ryan Lewis in April about his experience with the SCARLET and video directing as an independent artist.
Mad Media headed out to Desert Center, California during the most intense heat wave in history. In 120 degree heat at an abandoned iron mine called Eagle Mountain, Mad took 4 RED cameras (3 EPICs and a SCARLET) to shoot a grueling video showcasing the Polaris RZR XP1K — a heavily modified version of the production model Polaris XP1000 UTV. The result is a 10 and a half minute thrill ride featuring a souped up dune buggy and one insane driver.
Elysium, the upcoming film from District 9 director Neill Blomkamp, was shot using RED EPICs. Senior DI colorist Andrea Chlebak spoke to Studio Daily to talk about the film’s 4K finish and image. With heavy CG elements and fight scenes that mixed live action with VFX, it was no simple task trying to integrate these worlds together. When it came down to the final image, Chlebak said:
Earlier this year Guillermo Del Toro told audiences at CinemaCon that Pacific Rim was “the perfect film to shoot on RED.” Last Wednesday night, RED, Warner Brothers, and Filmlight were privileged to host Pacific Rim colorist Maxine Gervais at the Saban Theater in Hollywood to see just how well RED and Filmlight’s Baselight software worked for the movie.
TED, the influential non-profit host of idea-packed conferences around the world, put together this behind-the-scenes video of their use of RED EPICs at their recent Edinburgh event. The interests of TED — whose moniker derives from their focus on “Technology, Entertainment, Design” — dovetail nicely with RED’s. As Laurie House, Chief Video Editor for TED, notes in the video:
On Thursday morning, The Academy of Television Arts & Sciences announced the nominees for the 65th Primetime Emmy Awards. RED congratulates Behind the Candelabra, House of Cards, Louie, Arrested Development, Defiance and Halo 4:Forward Unto Dawn — all shot on RED — for their nominations.
At REDucation’s Open House last summer in Los Angeles, attendees were privileged to see a short preview of Fedor Bondarchuk’s Stalingrad in 3D. The Russian movie was shot on RED EPICs with 3ality Technica 3D rigs. Now that the film has an international distributor, a wider audience will get to experience what Open House attendees saw.
Television commercial director, Mark Toia, recently shared an astounding video of the Southern New Zealand landscape. While flying to different areas for a Natural Gas Australia commercial, Toia mounted a REDEPIC within a SHOTOVER – an aerial stabilization platform – to capture the visually stunning journey from Queenstown to the various shooting locations.
Though the video depicts a breadth of ecosystems and altitudes, all of the footage shown was shot in less than 3 hours.
This is the second installment in Peter Jackson’s trilogy detailing J.R.R. Tolkien’s account of the adventure of Bilbo Baggins. The trilogy has garnered much discussion throughout the film community with Peter Jackson’s ground breaking decision to utilize 40-plus RED EPICs to shoot the movie in 3D at a frame rate of 48fps.
The Hobbit: The Desolation of Smaug opens in theaters on December 13, 2013.
This Is The End, the apocalyptic comedy directed by Seth Rogen and Evan Goldberg, premiered on June 12 and has been met with high praise from both critics and audiences. Cinematographer Brandon Trost used REDEPIC cameras with Panavision G Series anamorphic lenses when shooting the all-star comedy cast. Be sure to check out James Franco, Seth Rogen, Jonah Hill and more in This Is The End in theaters today.
Sofia Coppola’s movies have always shown a distinct film look. She’s eschewed gloss and spectacle (with the possible exception of Marie Antoinette) for intimacy and lingering images. The Bling Ring is Coppola’s first digitally shot feature. The look of the film is “more Pop, as in Pop Art," she told IndieWire. In the DGA Quarterly, she explained the difference in shooting digitally:
It feels more immediate, and since you’re not limited by the film in the camera you can go on and on and have really long shots.
Based on the true-life story of several teenagers who robbed celebrities, The Bling Ring looks to push Coppola’s aesthetic in the opposite direction of her last film, Somewhere — also a contemporary story about Los Angeles but with a distinct languorous, slowed-down feeling of reality.
Red Bull brought along their RED cameras to capture Raimana Van Bastolaer, Maya Gaberia and Carlos Burle as they took on the powerful waves of Teahupo’o, Tahiti. Teahupo’o — which loosely translates to “place of skulls” — was in full force this year and riders across the globe came to catch some of the deadliest waves in the world. Check out this video, shot on EPIC, and watch these brave surfers face some of the Pacific’s most dangerous waters.
This Sunday, the critically-acclaimed sitcom, Arrested Development returns as a Netflix Original series with 14 new episodes. The show — which followed the trials (literally) of the Bluth family — had its run on network television abruptly end with a truncated third season in 2006.
This coming Sunday, HBO premiers Steven Soderbergh’s latest film, Behind the Candelabra, starring Matt Damon and Michael Douglas. Based on the memoir of Scott Thorson, the movie describes the life of Liberace and his live-in lover Thorson. Soderbergh spoke to Vulture a few months ago and talked a little bit about the movie and his career in general. The interview includes this insightful advice for aspiring filmmakers:
What do you think people mean when they call a film Soderberghian?
I have no idea. But never use that word to describe your movie in a pitch meeting because it won’t get made.
Behind the Candelabra premiers on May 26th on HBO.
The Hollywood Reporter explores the use of 3D in The Great Gatsby and other films in a new article. Director Baz Luhrmann reportedly made the decision to shoot in 3D after seeing a screening of Hitchcock’s Dial ‘M’ For Murder in its original 3D version.
Steven Soderbergh spoke at the San Francisco International Film Festival last month on the “State of Cinema.” The entire talk is engaging and worth watching. A few short comments on technology deserve attention:
I love all this new technology, it’s great. It’s smaller, lighter, faster, you can make a really good-looking movie for not a lot of money, and when people start to get weepy about celluloid, I think of this quote by Orson Welles when someone was talking to him about new technology, which he tended to embrace, and he said: “I don’t want to wait on the tool, I want the tool to wait for me,” which I thought was a good way to put it.
This week, the first trailer for Ender’s Game was revealed.
The highly-anticipated adaption of Orson Scott Card’s epic science fiction novel showed footage for the first time publicly at CinemaCon last month. At the time, FirstShowing.net said “We truly are entering a new era of sci-fi, and while Blomkamp’s Elysium and Abrams’ Star Trek will lead the way in the summer, it’s Ender’s Game that will take us to even new heights this November.”
Shot on REDEPIC, directed by Gavin Hood, the film is released on November 1st, 2013.
This year at WonderCon in Anaheim, California, Guillermo Del Toro showed a new trailer for Pacific Rim with previously unseen footage. Like many convention previews, this trailer could have stayed in the vault unseen by the public at large. Thankfully, today, the WonderCon trailer for Pacific Rim hit the internet where it immediately generated all sorts of excitement.
Watch the trailer in HD and discover why Guillermo Del Toro called it “the perfect movie to shoot on RED.”
Sam Mestman who has taught post-production at REDucation has a new series on MovieMaker in the DIY category that describes his RED/Final Cut Pro X workflow in elaborate detail. Mestman says “On the most recent film I worked on using this workflow, I was able to get an assembly edit of the entire film done within two days of the film wrapping.”
At the NAB Show we announced the upgrade program to REDDRAGON® sensors. In what is surely another trade show first, RED is performing upgrades to the REDDRAGON sensor in a clean production facility live in our booth. To do this:
We took part of our manufacturing facility and moved it to the floor of NAB. The entire upgrade is being performed there just as it will be done on RED users’ cameras at our California facility.
All week at our booth at the NAB Show, RED is conducting one hour introductory courses of REDucation. In the introductory course at NAB, REDucation students shoot on a REDEPIC camera rig, learn post-production with REDCINE-X PRO, and watch their footage on the big screen in the booth.
The public is free to observe the course through each stage. The classes are held at 10am, 1pm and 4pm each day of NAB except Thursday when there is no 4pm class. Each REDucation class at NAB takes 40 students and is free to join. Register here for a class.
Las Vegas, NV — RED Digital Cinema is happy to announce its acquisition of Element Technica. Element Technica creates rugged accessories for the toughest production environments. Designed by filmmakers for filmmakers, Element Technica enjoys a great reputation among their peers in the cinema and broadcast industry. Given the numerous occasions RED and Element Technica products have been merged on set to provide elegant and durable performance, this announcement is not a surprising one. We are excited to welcome Element Technica into the RED family as the REDELEMENT division. We look forward to the great work we’ll do together.
The new sensor from RED Digital Cinema cameras that shoots 6K Resolution at 100 frames per second with impressive native dynamic range has arrived. The REDDRAGON® sensor translates to 9 times more resolution than High Definition and over 19 megapixels.
Once again proving Obsolescence Obsolete®, REDEPIC and SCARLET owners will be able to upgrade their existing sensors to REDDRAGON.
Those that believed in Jim’s vision when it was still an impossible dream, those that stood in line and paid deposits when everyone told them that RED was a scam, vaporware, snake oil, those that believed that everyone else’s “good” was not “good enough” — those are the early adopters and will be the first to experience REDDRAGON 6K via RED’s RED DRAGON™ sensor upgrade program.
Las Vegas, NV — RED Digital Cinema introduces REDDRAGON® — the 6K sensor for REDEPIC cameras — and many other innovations at the NAB Show this week. From shooting to post-production to playing, RED aims to provide the ultimate ultra high-definition solutions.
The innovative video game studio Red 5 Studios launched Stage 5 TV to cover emerging trends in gaming and geek culture. Their YouTube channel hosts several different series including Game Changers — a show where they take video game tropes and see if they would work in real life. In the latest episode, Game Changers wants to know if people can fly jetpacks and shoot guns. They shoot every episode on EPICs and SCARLETs.
Enter a series of five still photographs and narrative or nonnarrative motion shorts. From the entries, 10 Finalists will be chosen to receive a REDEPIC outfit on loan for a month during which they can shoot a dream project to be judged for the final phase of the contest. One winner will then win a EPIC-X PROCOLLECTION courtesy of RED and a set of ZEISS CP.2 LENSES
The prize package is valued at over $63,000 and features the EPIC-X PROCOLLECTION and a set of 4 Zeiss CP.2 Lenses in either EF or PL mount. All finalists will receive a 1-year subscription to the Adobe Creative Cloud.
Sam Raimi’s interpretation of the land of Oz comes to life in Oz: The Great and Powerful, opening today and shot on REDEPIC. Nerdist recently posted their interviews with Raimi and the cast. With the pressure of revisiting a legendary film and reinventing its fantasy world, Raimi and his actors explain their initial concerns and the methods by which they bring the story to life.
We recently sat down with Kenny Stoff, the Director of Photography on the Sundance and SXSW selection Sound City, to speak with him about the experience. The movie is the directorial debut of Dave Grohl and tells the story of the legendary Van Nuys studio and the bands that recorded there. Kenny and his partner Jessica Young shot the movie and were flies on the wall during Grohl’s incredible conversations with Neil Young, Rick Springfield, Mick Fleetwood, Stevie Nicks, Tom Petty and many others.
Kenny spoke with us about how the EPIC was a great camera for the job — able to switch between documentary interview and music performance seamlessly — and how the secret to shooting was prep, prep, prep.
Sound City was a hit at Sundance earlier this year and was accepted to SXSW. It screens three times in the next week at the Austin, Texas festival. Tonight, March 8, it shows at Alamo Village at 9:30pm. It also screens next Wednesday, March 13, at the Paramount Theatre at 7:15pm and next Friday, March 15, in Rollins Theatre at The Long Center at 1:30pm.
Back in December, we noted TransWorld SURF’s cover sequence shot on a SCARLET. The shoot for that cover was part of the movie DONE by Blake Vincent Kueny and John John Florence about John John’s surfing. The short film has been getting a great deal of recognition in surf circles. Stab Magazine declared: “This might just be film of the year.” TransWorld called it “freaking amazing.”
Much of the movie was shot on John John’s own SCARLET giving the filmmakers a level of control and comfort with their equipment that makes a huge difference when shooting hours of surf footage to catch the right moment.
Last night, Curfew, directed by Shawn Christensen, took home the Academy Award for Best Live Action Short Film. The story of a suicidal young man left to care for his niece for an evening, Curfew was shot on the REDONE and has won over 30 awards in the last year. Also nominated in the Live Action Short Film category was Asad by Bryan Buckley shot on REDEPIC.
One of the coolest things about the Shot on RED Film Festival last year was getting an early showing of the amazing work being done by independent filmmakers on RED cameras. That becomes even more gratifying when we see a film from the festival go on to dazzle other audiences.
In January, RED joined Gothenburg Film Studios for GoKinema 2013 — an annual event in Gothenburg, Sweden in which film artisans learn about being behind the scenes on a film set with workshops, art department displays and open sets. RED participated in 2 open set shoots where a director and DP shot on a REDEPIC system. The following day, RED was part of a live 4K grading session of those shoots led by Director of Photography Geoff Boyle and Chief Colorist Dado Valentic. On display was the RED 4K Workflow and its accessibility.
Last week in Hollywood, RED attended a screening of Sound City, the new documentary directed by Dave Grohl, shot on RED EPICs, and selected for Sundance this year. The film tells the story of the unlikely hero, Sound City Recording Studios, whose history careens from near failure to wild success over 30 years through the voices of the musicians and engineers who recorded at the studios.
At the Sundance Film Festival we’ve been excited to see the sheer number of films shot on RED. In 2008, only 1 movie shot on RED appeared at Sundance. In 2010, there were about 40 movies. In 2011, it doubled to about 80. For the past two years, we haven’t been able to count all the films shot on RED cameras and equipment.
All week at CES in Las Vegas, RED displayed native 4K content using the REDRAY connected to an 84-inch Toshiba 4K panel at Toshiba’s booth. We’d like to give a very public thank you to Kris Pygrocki one of RED’s Bomb Squad customer service personnel who manned the Toshiba booth all day, all week. Kris introduced thousands of CES goers to the REDRAY’s 4K delivery. Thank you, Kris.
In a sea of 4K displays, the question going around has been “Where’s the content?” The REDRAY answers that question. Its ability to deliver true 4K content has not been missed:
10 films shot on RED cameras were nominated for last night’s Golden Globe Awards. We have great admiration for all of those who earned the privilege of being recognized and RED would like to extend a special congratulations to Kevin Costner for winning Best Actor in a Mini Series or TV Movie for his brilliant performance in Hatfields & McCoys.
Thursday afternoon at CES, RED’s Ted Schilowitz participated in a panel discussion called Next Gen TV: building an ultra HD Ecosystem. Also on the panel were Chris Cookson from Sony, David Walton from JVC, John Taylor from LG and Jim Sanduski from Sharp. Moderator Rob Sabin from Home Theater Magazine led the group through a conversation covering 4k creation, distribution and display.
RED’s Ted Schilowitz took to the Engadget stage Tuesday at the International CES 2013 to discuss the latest happenings at RED Digital Cinema. In a wide-ranging yet dense interview, Ted and hosts Richard Lawler and Richard Lai covered cameras, the REDRAY, a RED projector and REDucation.
Ted began by briefly outlining RED’s camera history from the REDONE to the SCARLET which he showed off onstage. “We can’t talk enough about it,” Engadget’s Richard Lawler said of the SCARLET. When Ted noted that the SCARLET brain is under $8000, Lawler summarized nicely: “Assuming that I have the skill, I could make a Peter Jackson quality movie.”
“This year is all about 4k,” we overheard a convention-goer say today at the International Consumer Electronics Show in Las Vegas. We can’t argue with that statement. Every major manufacturer is showing off 4K displays ranging from 20-inch tablets to enormous home theater-sized panels.
RED is showing off the capabilities of the REDRAY 4K Cinema Player in conjunction with Toshiba on an 84-inch 4K monitor. In a subtle display, RED and Toshiba show off 4K filmmaking from end to end. With a REDEPIC and REDRAY player overlooking the panels, footage shot on EPIC streams on Toshiba’s newest 4K monitor.
PDN (Photo District News) reviewed the latest gear releases and has recently awarded SCARLET-X as the Video Camera of the Year. Being awarded the best “video” camera by a trusted trade publication for professional photographers shows how RED continues to be at the forefront of the the movement that blurs the line between “still” and “motion” image capture. In fact, RED is still the first – and only – maker of a true “DSMC™” Digital Stills and Motion Camera.
The trailer for Michael Bay’s Pain & Gain debuted today on Vimeo. Based on the true life reporting of Pete Collins, the movie centers around 3 Miami bodybuilders who moonlighted in abduction, theft and torture.
As one would expect with a Michael Bay movie, it’s full of action and tantalizing images. Judging from the trailer, it’s also full of deadpan, possibly dark, humor. The movie opens on April 26, 2013.
With the The Hobbit: An Unexpected Journey opening this weekend, high frame rates and 3D movies are on everyone’s mind. Shot at 48 frames per second and in 3D, The Hobbit movies have ensured that these technical issues of movie making are discussed in popular media.
Geeky blogs almost melted down this week when the first trailer for Guillermo Del Toro’s sci-fi robot versus alien slugfest was released. Concerning the invasion of Earth by aliens who arrived via a portal in the sea, Pacific Rim presents a new spin on the alien/monster movie: “To Fight Monsters, We Created Monsters.” We could say more but just go watch this in HD.
Chris Coté and John John Florence talk about the latest cover for TransWorld SURF shot on SCARLET.
TransWorld SURF magazine makes history with the first major surf magazine cover taken from a digital cinema camera — a REDSCARLET to be precise. The cover features a sequence of images of World Tour surfer John John Florence. The stills were taken from footage shot for John John’s movie Done shot by Blake Kueny and the cover showcases the article “John John Florence Jumps Off a Cliff” in the magazine.
Shot on RED Film Festival Grand Prize winner The Wheel directed by John Roberts
Last week, RED Studios Hollywood hosted the first Shot on RED Film Festival, a showcase of short independent projects shot on RED cameras and delivered in 4K. Over two nights at the Downtown Independent Theater in Los Angeles, RED screened the films of 36 finalists from an entry pool of over 300 films.
Shoot Online talks to several directors and DPs to profile 5 movies that could be Oscar contenders. Of particular interest is the director / cinematographer pairing of Robert Zemeckis and Don Burgess, ASC. The two have collaborated on Back To The Future II and III, Death Becomes Her, Forrest Gump, Contact, What Lies Beneath, Castaway and The Polar Express. Their most recent film is Flight — shot on RED EPICs.
RED Digital Cinema is proud to be a sponsor of the first annual Sao Paulo Fashion Film Festival. The festival aims to showcase and promote the best national and international works in fashion films. The SPFFF will also provide an environment where professionals can engage and exchange information on this new format. The festival runs on December 12 and 13th, 2012.
CLICK digs into the technology of The Hobbit movies. The magazine highlights 3 significant technical decisions that separate The Hobbit from its contemporaries. Shooting in 5K on RED EPICs — CLICK notes — is one of those decisions.
RED is excited to introduce price reductions on all our cameras. The move comes after a surprise announcement from RED founder Jim Jannard on REDUSER. Under the characteristic “Everything Changes…” title, Jim stated that:
Leave it to Red Bull to come up with a stunt that’s so far beyond crazy that it becomes a legitimate scientific undertaking. The energy drink brand is sending a man into the stratosphere to freefall back to earth. Felix Baumgartner will be “skydiving” from space. He will fly a balloon to 120,000 feet in the atmosphere and jump from his capsule in a space suit. During his fall, he is expected to break the speed of sound.
Renowned cinematographer Vincent Laforet took to the rooftops to capture the final flight of the Space Shuttle Endeavour as it landed at Los Angeles International Airport last Friday. Vincent shot the landing with a REDEPIC at 5K resolution in slow motion at 96 frames per second. Read his description of the shoot and see photos of his setup at his blog.
The squealing sound you may have heard earlier this week was the sound of millions of Tolkien and Peter Jackson fans reveling in the release of the second official trailer from Peter Jackson’s The Hobbit: An Unexpected Journey. The second trailer is a bit darker than the first we saw and focuses on the adventure ahead for Bilbo and the dwarves.
Start your weekend off with a beautiful new peek at this movie. The countdown to December 14th is underway.
Last weekend the second annual Comikaze Expo took over the Los Angeles Convention Center. The expo is Los Angeles’s answer to San Diego Comic Con — a 2-day convention of comic books, movies, and pop culture. This year, former Marvel Comics honcho Stan Lee came aboard as host which added a level of historical significance to the show. RED was on hand to witness the show and document it on a 5K EPIC.
RED Digital Cinema is exhibiting at the International Broadcasting Convention in Amsterdam, Netherlands this week. True to form, RED delivered an important presentation today with exciting product news.
Every year, RED Studios Hollywood offers 3 weeks of a filmmaking camp for kids age 9 to 15 known as Camp RED. The first two weeks take place at RED Studios Hollywood. Week 3 is an overnight camp in Malibu. We just wrapped up this year’s Camps and all were a great success. Here’s what happens at Camp RED…
At the NAB Show this past April, RED was proud to present Loom, a short film from Ridley Scott shot on REDEPIC in 3D and starring Giovanni Ribisi. The film was written and directed by Luke Scott, Ridley’s son. RED has been screening that film since NAB. Now, we’re proud to present it online. RED President Jarred Land posted a download link on REDUSER earlier today.
Seeing Loom in 4K 3D on a laser projector is how it was meant to be seen. But as Jarred said, this is “a web version to tide you over till you can get to one of our screenings… which you really need to do.”
Korean rapper PSY’s music video for “Gangnam Style” has become a huge viral hit mostly for the hilarious vignettes that flash by in short cuts — he’s on a bus, he’s in a sauna, he’s in a barn, he’s on a tennis court, something explodes, he’s in a subway. It’s a frenetic video with over 35 million views on YouTube.
RED was proud to be a sponsor of this year’s La Jolla Fashion Film Festival. Over three days, RED participated in many areas of the festival and awarded a REDEPIC to the winner of Best Picture on Saturday night.
The Annenberg Space for Photography in Los Angeles is hosting a new exhibit called “Who Shot Rock & Roll?” The exhibit is a celebration and exploration of the photographers who have captured rock ‘n’ roll’s iconic images since 1955. In addition to 166 prints from over 100 photographers, the exhibit features an arresting documentary shot by Arclight Productions.
The Academy of Television Arts & Sciences announced the nominees for the 64th Primetime Emmy Awards Thursday morning. RED congratulates “Louie” and “Hatfields & McCoys” — both shot on RED — for their nominations.
We returned from San Diego Comic Con Sunday afternoon exhausted with bags full of swag and with the unmistakable impression that though RED did not have a site of its own at the largest popular arts convention in the world, our presence was indeed felt.
Vogue recently partnered with RED Digital Cinema and Bottega Veneta to present the New Exposure Fashion Photography contest. Promising young fashion photographers submitted their work, all of which was shot using REDDSMC (Digital Motion and Stills Cameras) technology.
RED was on hand to take behind the scenes photos as The Bandito Brothers shot the Hot Wheels™ Double Loop Dare stunt at the Los Angeles X-Games on June 30, 2012. The stunt — shot on REDEPIC — is fantastic enough but another amazing feat is that Bandito Brothers edited the footage in less than three hours.
This month HDVideoPro Magazine goes into the technical details behind the scenes of The Amazing Spider-Man to explore how stereoscopic two-camera rigs were able to maneuver through the action. Many of the stunts were shot in live action on location in 3D rather than relying on computer-generated effects thanks to 3ality Technica’s 3D stereoscopic rigs.
Adobe is taking their newest Creative Suite, CS6, on the road and RED is joining them. CS6 creates a more open workflow for RED shooters by allowing users to open .r3d files natively in Photoshop, Premiere, and AfterEffects. On the Road Show, RED and HP introduce the HP Z280 — a Dual 8 Core Intel Xenon powered tower customized for RED and Adobe CS6.
The La Jolla Fashion Film Festival is the First International Fashion Film Festival Founded in North America and the world’s largest gathering of fashion film professionals. The best international fashion films will be shown in three different screening programs July 26, 27 & 28th in the world class theater at the Museum of Contemporary Art La Jolla. Each night consists of about 20 short films. They’ve just announced an extension to their submission deadline to Thursday, June 14th for RED.
Romain Gavras’s cinematic approach to music videos (he’s responsible for M.I.A.‘s “Born Free”) continues with his video for Jay-Z and Kanye West’s “No Church in the Wild.” Gravas used the REDEPIC for the high speed shots.
The first trailer for Baz Luhrmann’s The Great Gatsby has been released and it is full of the flamboyant visuals that the filmmaker is known for. The Great Gatsby was shot in 5K full-frame on RED EPICs using 3ality Technica’s 3D camera rigs.
On Sunday, April 15th, more than 1200 Redusers gathered poolside to kick off NAB 2012. Guests admired a variety of 4K displays. Each display showcased the top ten finalists of the 4K Portrait Competition. This “living gallery” of quality content from the Reduser community demonstrated the viability of global 4K acquisition and exhibition.
RED Digital Cinema announces the EPIC-M Upgrade Program. As a service to our customers, RED will begin upgrading EPIC-M cameras to update the internal hardware including the REDLINK antenna to current factory specs, mechanical modifications including a new top similar to EPIC-X with additional rear mounting points, and the new heatsink that has the same thermal characteristics in a much lighter package.
RED Digital Cinema will once again make our presence felt at the NAB Show in Las Vegas, Nevada, April 16th – 19th, 2012. The NAB Show® is the world’s largest event covering filmed entertainment and the development, management and delivery of content across all media with over 90,000 professionals in attendance.
Check this month’s Vogue (April 2012) for our first and biggest print ad ever. You’ll find an 8 page fold out featuring Rooney Mara shot on EPIC by David Fincher and lit by our good friend David Devlin. You need to see this printed.
It showcases the power of DSMC: shoot motion and extract single stills for not only print covers but massive fold-out spreads like this.
James Cameron — director of Titanic, Avatar, and a little movie called Aliens — is planning a dive to the Mariana Trench and he’s taking a REDEPIC with him.
Cameron has been on more than 30 deepsea dives but this one is the deepest ever and to a depth only 2 human beings have been to previously. The last voyage this deep was made in 1960 in the US Navy bathyscape, Trieste, by two pilots. Cameron will travel in a one-person submersible that’s been 8 years in the making. The small craft dives vertically and has 2.5 inch walls tested to withstand more than 16,000 psi. Naturally, it’s packed with tech:
Two cylinders of compressed oxygen and a carbon dioxide scrubber can keep him breathing for up to 56 hours. A touchscreen readout, similar to those found in some aircraft, will provide constantly updated information and status on most of the 180 systems that will be in operation on a typical dive. He’ll control the 12 thrusters that maneuver the sub with a joystick and see what’s going on outside the sphere’s thick, conical viewport on a viewscreen fed by a Red Epic 5K camera and wide angle lens. The 19-mile (30 km) range of the sub’s communication system should easily keep him in contact with the surface.
We’re proud to be part of such an historical exploration and are excited to see what Cameron discovers.
RED is proud of all of the Academy Award nominees who chose RED to bring their ideas to life. For the third straight year, films shot on RED have earned the prestigious honor of an Oscar nomination and we congratulate all of those who were involved with these projects along with those who have won in their respective categories.
We really love fashion photographer and filmmaker Jacob Sutton’s L.E.D. Surfer — a short film of a snowboarder at night in an L.E.D. lighted suit. The film was shot on his REDEPIC camera at temperatures down to -25C showing us just how well the EPIC handles in low-light and low-temperature settings.
I’ve always been excited by unusual ways of lighting things, so it seemed like an exciting idea to make the subject of the film the only light source
Light Iron announces the first REDUSER 4K Portrait Contest as part of the Reduser NAB 2012 Party in Las Vegas. The contest will give RED shooters the opportunity to create content and compete for exhibition space and prizes at the NAB Party. The contest will showcase RED content demonstrating the viability of global 4K acquisition and delivery creating a “living art gallery” atmosphere.
Entries must contain content captured on a REDONE, EPIC, or SCARLET cameras and edited on Adobe Premiere Pro. The maximum length is 4 minutes including credits, no dialogue or sync sound is allowed. Submissions should exemplify the impact of 4K imagery and support Reduser Party event theme “THE WORLD [IN 4K]."
For details on the contest and how to enter, read below.
6 Degrees of Hell, directed by Joe Raffa and starring Corey Feldman, Nicole Cinaglia and David Bonner, aims to be the first feature film released that was shot on the SCARLET-X.
The supernatural thriller was filmed at the Hotel of Horror — the abandoned Lake House Hotel in Saylorsburg, Pennsylvania, site of unexplained phenomena. It follows 6 lives as they deal with a supernatural evil in their small town.
We’re encouraged by the success of these filmmakers to get features made with SCARLET-X so quickly.
RED congratulates director Michel Hazanavicius and the cast and crew of The Artist — winner of the Golden Globe for Best Motion Picture, musical or comedy. Composer Ludovic Bource also won the Golden Globe for Best Original Score for The Artist. We were honored to have The Artist shoot at RED Studios Hollywood.
We also congratulate Christopher Plummer for his win at the Golden Globe Awards tonight! Christopher won Best Supporting Actor for his performance in Beginners directed by Mike Mills. Beginners was shot on RED cameras.
For the third straight year, films shot on RED have made an appearance at this illustrious event and we thank those who have showcased their talent both behind and in front of our cameras.
The long-awaited trailer for Peter Jackson’s The Hobbit made its debut tonight on Apple trailers. (Watch it there in HD.)
This means a great deal to us at RED. Jackson is shooting the film in 48 frames per second 3D on his 48 RED EPICs. And even more than that, Jackson took to RED cameras from our beginnings and his support has bolstered us.
David Fincher’s The Girl with the Dragon Tattoo is in theaters today. Shot on REDONE and EPIC, Fincher’s film promises to bring a visceral edge to Steig Larsson’s best-selling novel about Lisbeth Salander and Mikael Blomkvist. The movie has already been honored with Golden Globes nominations. Both the soundtrack from Trent Reznor and Atticus Ross (who also worked with Fincher on The Social Network) and Rooney Mara were announced as nominees last week.
Ridley Scott, famously known for directing Alien and Blade Runner, has returned to his Sci-Fi roots with the much anticipated release of Prometheus. Shot on EPIC 3D, Prometheus stars Charlize Theron, Patrick Wilson, and Noomi Rapace and stands as one of the upcoming major motion picture events of 2012.
RED would like to congratulate Christopher Plummer (“Beginners”), Trent Reznor & Atticus Ross (“The Girl With The Dragon Tattoo”) and Rooney Mara (“The Girl With The Dragon Tattoo”) for their recent Golden Globe nominations! For the third straight year, films shot on RED have made an appearance at this illustrious event and we thank those who have showcased their talent both behind and in front of our cameras.
REDSTUDIOSHOLLYWOOD, Hollywood, Calif., November 3, 2011 – RED Digital Cinema has officially released its third industry-changing camera, the Scarlet-X. With burst modes up to 12 fps at full 5K resolution alongside 4K motion capture from 1-30 fps, the camera allows professional photographers and cinematographers to simultaneously capture motion footage and still content. Never miss a shot. Ever. Scarlet-X’s compact design, endless modularity and advanced feature set provide a future-proof solution catering to every shooter’s needs, leaving one-dimensional DSLRs and 1080p camcorders in its wake. Priced at under $10,000, Scarlet-X advances RED’s vision to democratize superlative cinema and professional photography.
Jeremy Bolt, producer of The Three Musketeers as well as all the Resident Evil movies spoke with ComingSoon.net recently and talked about how the REDEPIC is changing the way he and director Paul W.S. Anderson make their movies.
When Kevin Smith (indie auteur of Clerks, Chasing Amy, Mallrats, Dogma) set out to make Red State with no distributor and total control of the process, he made some changes to how he’d made his last few movies. He set himself a budget of 4 million dollars and he shot on RED. You may have heard that much background on the film. But what catches our eye in this story from The Film Pilgrim is how RED’s workflow gave him more freedom to make this movie the way he wanted.
A German effects company called OMSTUDIOS has built a remote controlled octocopter to fly a REDEPIC where human camera operators can’t go. The drone can fly up to a height of 150 meters and has a range of around 100 meters. As OMSTUDIOS summarizes:
The portfolio features Javier Bardem, James Franco, Natalie Portman, Michael Douglas, Matt Damon, Jesse Eisenberg and others. All videos were shot on EPIC and REDONE directed by Sølve Sundsbø, music by Owen Pallett.
After seeing “Tattoo” shot on the new EPIC camera at RED Studios Hollywood on a 40’ screen, the only thing I could think was that this looked like it was shot on 65mm film or with an IMAX camera. There was no visible grain or noise with beautiful shadow and highlight detail. The latitude and detail was incredible. I was so impressed that I will be shooting my next feature on EPIC 2.40:1 widescreen.
May 20, 2011, Hollywood, Ca. Hollywood premiere of Pirates of the Caribbean – On Stranger Tides, hit the big screen in 3D! Directed by Rob Marshall and DP’d by industry notable Dariusz Wolski, the fourth installment of Pirates is the first Disney film to be shot with RED cameras and arrives as the first big blockbuster of the summer, boasting just under $100 million in box office sales in its first weekend of release.
Shot on REDONE M-X cameras configured in 3D rigs and shot in hazardous locations worldwide, RED adds further credibility to its ability to produce beautiful big screen images rivaling and even surpassing film’s ability to work in special effect genres.
RED is excited to share the news that production for the two film adaption of J.R.R Tolken's The Hobbit has officially commenced on EPIC cameras in New Zealand this Monday, March 21, 2011. An official press release was posted on the The Hobbit blog with first photos from the set (shown below) which states, "The two films, with screenplays by Fran Walsh, Philippa Boyens, Guillermo del Toro and Peter Jackson, will be shot consecutively in digital 3D using the latest camera and stereo technology. Filming will take place at Stone Street Studios, Wellington, and on location around New Zealand."
Peter Jackson has also launched his own Facebook profile to provide latest updates to his fans and friends throughout production.
Wall Street Journal features Louis C.K., comedian, writer, director and star of FX's Louie; in their Cultural Resolutions article kicking off 2011. Louis was quoted in the article that, “I would really like to shoot my show on a REDEPIC camera but Peter Jackson is hogging 30 of them for the Hobbit movie. If he’s reading this, please let me borrow one for three months.”
Congratulations go to the winners of the coveted Oscar! To all the nominees and winners this evening, RED tips their hat. Five short years ago, there was a seed of inspiration to build a technology that would move the movie making art forward into the 21st century. Tonight, on the shoulders of extraordinary talent, RED has demonstrated a new era is upon us. Winning Best Foreign film for the second year in a row and Best Documentary, while receiving a nomination for Best Cinematography and two noms for Best Picture, RED is excited to see what EPIC and the future will bring! Again, congratulations to all the nominees and winners and here’s to a great 2011 at the movies!
EPIC is alive and well in the field these days, as cameras are being tested for a variety of high profile future projects. At home, in the studio, use case tests are under way testing EPIC in extreme conditions and situations. These first pilot cameras are undergoing the scrutiny of engineers and in-house photo and cine experts, as the remaining bugs and glitches are being worked out and the camera's operating software is stabilized.
Returning home from a one month tour, starting at IBC in Amsterdam and winding its way through Germany, Ted Schilowitz regaled the RED Team of stories of one successful Expo, seminar or get together after another. Over the course of a month, at dozens and dozens of public gatherings, his EPIC performed flawlessly, never failing to delight the crowds. The lessons learned with the early introduction of the REDONE taught RED the value of testing and more testing for the stability expected in the professional marketplace. It's not enough just to be the best image. Reliability is key. All indications are that EPIC is almost ready for Prime Time and everyone is getting very excited. The anticipation of this milestone product is palpable as we enter an era where film will give way to digital and EPIC will lead the revolution.
After receiving the Best Motion Picture of the Year Award at the VH-1 Critic’s Choice Movie Awards on Friday, January 14th, The Social Network has now garnered, this Sunday evening, 4 Golden Globe trophies, including Best Picture, Best Director, Best Screenplay and Best Score. The awards show presented by the Hollywood Foreign Press is often viewed as a great indicator of things to come at the Academy Awards.
RED’s heartfelt congratulations go out to David Fincher, the cast and the crew of Social Network. RED is extremely proud to have been involved with the project, which was Shot on REDONE M-X cameras, and wishes Fincher and company the very best for the upcoming Academy Awards. Nominations for the coveted Oscar will be announced on January 25th.
New York Times produced a video gallery of classic screen types called Fourteen Actors Acting, which features Javier Bardem, James Franco, Natalie Portman, Michael Douglas, Matt Damon, Jesse Eisenberg and others. All videos were shot on EPIC and REDONE directed by Solve Sundsbo, music by Owen Pallett.
Last year at CES, Ted Schilowitz made a surprise visit to Engaget showing off the non-functioning RED Scarlet prototype. This time he arrived with a functioning version of the Scarlet camera, and according to Engaget, "it's a seriously impressive piece of hardware… from our hands-on demo it's clear from the prototype that Scarlet's a beast of a camera that would raise the bar for affordable imaging."
The new Muppets movie "The Greatest Muppet Movie Ever Made" just wrapped and was "Shot on RED"… REDONE MX and a bit of EPIC. The movie is due out in theaters this November.
The film features an A-List lineup of celebrities including; Emily Blunt, Katy Perry, Amy Adams, Jack Black, Billy Crystal and Zach Galifianakis. James Bobin directed the film and Don Burgess was the cinematographer.
In early October, with much fanfare and an eye on the Oscars, Sony Pictures is releasing The Social Network, its liberally dramatized, completely unauthorized, and (its makers hasten to add) thoroughly researched Facebook origin story. In this telling, Zuckerberg (played by 27-year-old Jesse Eisenberg) is no mere code monkey with a fondness for dead languages and flip-flops. He’s a tragic archetype right out of Sinclair Lewis: the driven, wounded trickster-genius accused of stealing a million-dollar idea and throwing his friends under the bus, all in an attempt to summit the American dream. The filmmakers — Hollywood A-listers, all — can’t be accused of thinking small. Justin Timberlake, who plays Mephistophelean Napster cofounder and Facebook partner Sean Parker, calls the story arc “very Greek.” Screenwriter Aaron Sorkin, creator of The West Wing and A Few Good Men, compares his version of Zuckerberg to Shakespeare’s Richard III, saying of his protagonist, “Give him a hunchback and a clubfoot and you’re pretty close.” As for the film’s acclaimed director, David Fincher: He jokes that he’s made “the Citizen Kane of John Hughes movies.”
Action moves from the dorm rooms, lecture halls and exclusive clubs of Harvard to the corporate offices of Palo Alto, Calif., and d.p. Jeff Cronenweth (using the Red camera) lenses the often drab settings in dim, autumnal tones.
Following his RED Europe tour, Ted Schilowitz stops in Vietnam to answer the top ten questions regarding the highly anticipated RED Digital Cinema camera – EPIC and discusses the upcoming REDucation workshop to be held on December 7-12, 2010 in Los Angeles, California.
In the beginning, some said that RED was a scam. Now some say that RED is a one trick wonder. I have said that "the 1st is the worst".
So which is it? Is RED likely to last?
I guess this post is to say that we have more in development than we know what to do with. Our sensor program (the heart of a camera company) is way beyond my wildest expectations. We have stuff in the works that would scare you. I am shocked. Every day I wake up, the realities of what we dreamed are becoming a reality… and more. It is pretty surreal. EPIC (a nuclear reactor in a matchbox) is just the beginning. Hard to believe… but true.
Obsolescence obsolete. All the things we are doing forward work with what we are doing now. That was the concept. That is real today.
I thought I saw the future in 2005 when the decision to build the REDONE was conceived. I also thought that was a big plan. While I guess it was… I see a much more advanced future now. Stay tuned. We have just warmed up the engine.
EPIC was officially declared ready for production today. We have prototypes that pass all the requirements we set out the past few months. That means we will finish the Tattoo program and put Tattoos on special jobs and begin ordering all the parts and pieces (over 18,000) to begin production. It will take a bit of time to set up the line and gather all we need, but the end is in sight.
Just to be clear, not every feature is currently enabled, but the most important ones are and the build seems very stable as a foundation. We expect 95% of the features to be ready by the time production EPICs are released.
RED is proud to announce that Shot on RED movies garnered 16 Oscar nominations today. 2010 was an exciting year for RED and congratulations go out to all of the nominees! The RED Team is thankful for the amazing support from the industry and from the pioneers that have championed this new technology with such extraordinary resolve. Their success speaks highly of their skill, their talent and their willingness to push all boundaries. It’s definitely exciting times!
Last week, Jim Jannard at RED invited me to come down to RED Studios to talk about EPIC and HDRx, RED’s new High Dynamic Range capture mode. I made the trip this past Tuesday, and had the opportunity to sit down with Jim, Jarred Land, and Deanan DaSilva for three hours. Here’s what I learned about HDRx; a report on EPIC will follow.