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 RED EPIC, 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.
Despite its cancellation, Mob City marked a significant milestone for Frank Darabont: the neo-noir series converted the long-time film advocate to digital.
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.
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.