On Monday, September 9th, RED President Jarred Land introduced the REDDRAGON Carbon Fiber — an EPIC-M REDDRAGON with a carbon fiber shell and SIDESSD 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 REDDRAGON 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. REDspoke 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.
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.