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.