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.
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 – which includes the EPIC-X MYSTERIUM-X PRO COLLECTION, an Nvidia K6000 card, a one-year subscription to Adobe Creative Cloud, and a Sharp 4K Panel – 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.
After previewing footage of Ender’s Game at CinemaCon this year, FirstShowing.net raved about the film — shot on RED EPICs:
The battle room and some of the shots there looked 100x better than the teaser poster, and those weren’t even the moments I would call “epic.”