It’s all happening again, Red has made a cryptic announcement of an announcement coming on July 6th.
Jim Jannard the founder of Red Digital Cinema posted on RedUser “July 6th. 9am PST. Right here. You need to be online. You need to tell everyone you know to be online. Have your credit card ready. This is a new product category. It does not impact your RED camera.”
Jim Jannard later posted its “Much bigger than a codec and much smaller than curing cancer.”
Continue reading “Red’s new camera”
Red has released a new set of tools for Epic or Scarlet camera users.
One of the tools is amazingly good, it is visual tool for key mapping so you to setup all the buttons / keys on your Epic camera while using a Mac or PC. Once you have run the program and setup all you button / key choices you save it to a camera SSD and then load to your camera.
Its a so much quicker, easier and simpler way to set up your camera using this program. This tool would be great for anyone one who either rents an Epic or Scarlet or uses multiple cameras on a shoot. A great way to have all the keys / buttons setup uniformly.
The tools included in the latest release are:
REDMote Upgrade Utility
RED Guide Creator
RED Key Mapper
This TVC is a great example of the power of shooting 5K. By choosing such a high resolution to shoot in enabled an extremely flexible outcome in post. The camera was mounted vertically to make the most use of the resolution, and the shot was framed head to toe with just enough room to allow a few hand gestures. While all the shot sizes had already been decided prior to the shoot, we didn’t have to worry about shooting anything besides the one shot size, knowing that it meant we could get a shot from an extreme close up all the way to an amazing wide shot if needed.
The shoot was a fun day. The director loved the freedom as he knew a shot take could be used in any size in the end TV commercial.
One note for this approach of reframing in post is that I would not recommend this for anything other than a chromakey shoot or white limbo background, as with reframing in post you loose all advantages of being able alter your depth of field with your shot size changes.
The next Red Epic is Epic Dragon and it is now out and about. Red has released a few Epic Dragons for testing and evaluation of the new sensor and electronics. So far the word is great. Added dynamic range of some say 3 stops over what the current Epic has makes this truly stunning.
One test was shot by Aussie Director/DOP Mark Toia and he was quoted as saying that now the Epic Dragon see what his eye sees. Anyway proof is in the pudding so heres what he shot. Please remember this is a camera thats in beta and still has not got all the colour science and post work out, so if you like the pics now remember they will only get better and better as Red releases camera updates and Redcine software updates.
One of the most often asked questions is “How much is this gonna cost us to use 4K ?!” Well a great article from AbelCine goes through the costs on a multi camera shoot for both 4K and 1080 (HD) production.
The rumours that shooting 4K are way more expensive are busted. The cost for shooting 4K is the same as shooting 1080. The costs of the post are explained by Juliet McNally at AbelCine.
They have worked out the its a 55% increase in cost, but think of all the advantages. From an audience perspective, it starts with improved quality: unprecedented levels of resolution and contrast and, ultimately, a much more dynamic, engaging and immersive entertainment experience. If shoot and finish in 4K you are future proofing as 4K Tv sets are being sold in the states for $1200 also youtube streams 4K footage today.
To read the great article http://blog.abelcine.com/2013/05/21/the-cost-of-4k-from-acquisition-to-archiving/
Forget the Oscars, the world premiere of the new Hi-5 movie “Some Kind of Wonderful” with director of photography extraordinaire Tim Bradley. I shot on my new revolutionary Red Epic camera. It’s in good company, Red Epic was also used to shoot Hitchcock, The Great Gatsby, The Hobbit and Mental. Looking forward to walking the purple carpet – think Hi 5 colours 🙂
The Fantastic crew was – sound by Martin Harrington, additional cameras Brigham Edgar, Dean Ginsburg and Directed by Jim Hare.
Red Digital has started to sue Sony Corp for patent infringement. The Red’s complaint claims that three cameras made by defendants Sony Electronics and Sony Corporation “all embody the subject matter claimed in Red’s asserted patents without any license.” The federal court filing adds that “Red is informed and believes and thereupon alleges that the sale of Sony’s unauthorized, infringing cameras has resulted in lost sales, reduced the business and profit of Red, and greatly injured the general reputation of Red.” Alleging two instances of “willful and wanton” patent infringement on technology used in its Red One camera, Red is seeking a court order that its patents are “valid and enforceable” as well as an injunction against Sony’s F65, F55 and F5 cameras to stop their further sale and have them destroyed.
Jim Jannard, founder of Red says “This is a REDCODE RAW issue… one that many have acknowledged for years as a core invention of RED and incredibly important to what we all are doing…… REDCODE RAW is not “rounded corners”. It is fundamental to recording high resolution images on camera to small media. It is brilliant. And it is no surprise that others have finally figured out (several years later) that the only way to get where they need to go is through this path.”
This will probably take along time going through the courts, but may just make people reconsider their purchase of a Sony F5, F55 or F65 as if Red wins they may all have to be destroyed.
The latest firmware for the Samurai recorder now allows uses to select a new file naming option. The Samurai’s new option is to be able to use the Red Epic/Scarlet file names, making the Samurai an instant ProRes or DNxHD backup copy of your footage as well as allowing you to use the Samurai’s files for offline edit. Because of the matching file names now it will make re-conforming to the R3D files a breeze.
This update makes my Epic a more versatile camera, meaning what ever post production you have planned for your shoot myself and the Red Epic now provide answer.
Well done Atomos ! Thank you.
Today’s the final gear prep day before we start shooting a reality TV series. I can’t name the show yet, but I am really looking forward to shooting it on my Epic camera. We have mainly Epics, but have one Scarlet camera in the mix.
Keeping on top of the data backup is going to be one challenge, but I am told that’s in good hands with plenty of on set computing power at hand.
There has been a great crew brought together for this show, so will be great fun to shoot!
Red has just added some tools for Cinematographers and Photographers that use Epic or Scarlet cameras to their web site. The new tools are 1. Crop Factor 2. Recording Time 3. Flicker Free Speeds 4. Depth of Field.
You can find the tools at http://www.red.com/tools/crop-factor
At the moment they are online but its rumoured that there may be an app version in the pipeline. I see the record time tool as the best as no other app seems to be able to do what this tool does.
Thanks you Red!
For more about Tim Bradley please visit www.sydneycameraman.net.au or www.cams.net.au