RED partnered with Dew Tour and The Berrics earlier this year to help capture the journey of eight professional skateboarders tasked with creating a video part—a short film showcasing a skateboarder’s talents through an impressive collection of tricks.
The Brindabellas Mountain Range is a familiar sight from the Australian capital city of Canberra—and part of the inspiration for Glen Ryan and James van der Moezel of silver dory in their latest production. Rising to the west of Canberra—the “Brindabellas” separate New South Wales (NSW) and the Australian Capital Territory. Through the use of infrared camera technology, Glen wanted to showcase the range’s diverse wild and plant life—in a new light. For the art documentary Brindabellas, Glen and James used a modified REDEPIC-X MYSTERIUM-X with an IR Pass OLPF to offer a unique perspective. The documentary highlights the Brindabellas Range in a five-part series—that follows the area through Summer, Fall, Winter, Spring, and Summer again.
RED Digital Cinema has unveiled the latest addition to its line of professional cameras, REDRAVEN. Weighing in at just 3.5 lbs, REDRAVEN gives you the ultimate blend of flexibility and performance. Whether shooting for documentaries, online content creation, indie filmmaking, or with drones and gimbals—RED RAVEN’s durable, lightweight construction is ideal for any situation. Pricing for REDRAVEN starts at $5,950 for the camera BRAIN® only, with complete package options available for under $10,000. RED RAVEN’s announcement reflects RED’s ongoing commitment to the belief that cinema-quality creative tools should not be in the hands of a few—they should be available to all professional shooters.
Slayer and Nuclear Blast Records recently unleashed the band’s 12th album, “Repentless,” on September 11th. To celebrate its release, the band created a gore-soaked music video for its title track—and RED was there to capture the entire shooting experience.
During last night’s MTV Video Music Awards, Taylor Swift took home top honors for videos Blank Space and Bad Blood. Taylor’s videos have reached a new level of cinematic value through her regular collaboration with Director Joseph Kahn and DP Christopher Probst. Shot on WEAPON®, Blank Space and Bad Blood provided the world with some of the first glimpses of RED’s newest camera’s capabilities.
Harnessing his fascination with sharks, Andy Casagrande has made a name for himself as one of the top underwater cinematographers in the world. Andy has spent years capturing the most daring underwater shots of sharks in their native habitats—including what you see during the Discovery Channel’s Shark Week. Andy uses his work to not only show the grace and beauty of these often misunderstood animals, but also highlight an entire ecosystem that lays hidden below the surface.
Last night, RED and Surfer hosted a private event to commemorate the second installment of the REDirect® competition. Hosted at the ArcLight Hollywood, the audience received a special presentation of the contestant videos in 4K. After the screening, the evening’s Emcee—multimedia sports personality, Chris Coté—made the winner announcements to the eager crowd. Judged by a distinguished panel from both the filmmaking and surfing worlds, each of the contestants received points for both the cinematic qualities of the submissions as well as the epic surfing they captured.
Cinematographer Shane Hurlbut, A.S.C., and AMC have joined forces for the highly-anticipated show Into the Badlands, shot on EPICDRAGON and WEAPON®. The series is an adaption of the 16th century novel by Wu Cheng’en entitled, “Journey to the West,” and follows a martial artist and his companion as they search for enlightenment in a territory controlled by feudal barons.
Snoop Dogg, Pharrell, and Stevie Wonder recently teamed up to shoot the music video for their collaborative single, California Roll. Shot completely on EPIC DRAGON—the music video’s DP, Byron Werner, was able to shoot the entire video in just a single day, using two EPICDRAGON cameras with zoom lenses. With both the past and future being represented in the video, Byron had to ensure that he was able to capture shots that encapsulated the vintage vibe of the past as well as accommodate the visual effects that would be used in the futuristic shots.