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 MMORPG Firefall — 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.
In the coming weeks, RED Digital Cinema will be releasing a free mobile app to take your on-set toolkit to the next level. It features six tools that can assist with:
- Visualizing crop factors and lens focal length
- Estimating maximum recording time based on storage space and project settings
- Identifying safe flicker-free frame rate and shutter speeds under pulsed lighting
- Calculating how lens settings affect depth of field
- Seeing how project settings and ND filters influence exposure
- Finding a suggested panning rate to minimize judder and strobing
Each is customizable based on RED sensor and camera type. Versions of this app will be available for both Apple and Android mobile phones.
On Monday, September 9th, RED President Jarred Land introduced the RED DRAGON Carbon Fiber — an EPIC-M RED DRAGON with a carbon fiber shell and SIDE SSD 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 RED DRAGON 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. RED spoke 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.