Image courtesy of Red Digital Cinema The mist is lifting on a brand new RED Helium 8K Sensor, this time in a super 35mm format. RED Digital Cinema’s CEO, Jarred Land and Chief Design Officer, Matthew Tremblay have released some pictures on social media of their latest creation for none other than Michael Bay. Back in May, RED shared details of a custom housed Dragon sensored beast of a camera, the Xenomorph, built for David Fincher. This time Michael Bay gets the royal RED treatment with an out-of-this world camera for Transformers: The Last Knight. Image courtesy of Matthew Tremblay, Jarred Land and RED Digital Cinema. New Super 35mm RED Helium 8K Sensor This time it’s not “just” a custom bodied Dragon. Michael Bay gets a new sensor too in the form of an 8K super 35mm sensor known by the moniker “Helium”. What makes this sensor different from the 8K VistaVision sensor, is its size. To squeeze 8K into a smaller super 35mm chip necessitates new (smaller, denser) pixels. I’ve been told that smaller does not mean any compromise in imaging performance, quite the opposite, these are “better” pixels. It goes without saying that RED have a lot of secrets, and despite nudging the right people for more information, this is all I’ve got so far. If you aren’t following Jarred and Matt on Instagram and Facebook, you’re missing out some cool updates. What is clear is these guys have way too much fun building cameras. UPDATE: Jarred has confirmed in a recent Reduser post that “Helium” is in fact an entirely new 3.65 micron sensor line, the first of which will be the 8K super 35mm sensor, which will also soon be available for Weapon sensor upgrades. Oh, and it looks like there will be a new Epic-W, which will also be Helium equipped. All images courtesy of Matthew Tremblay, Jarred Land and RED Digital Cinema. Image courtesy of Matthew Tremblay, Jarred Land and RED Digital Cinema. Image courtesy of Matthew Tremblay, Jarred Land and RED Digital Cinema. Image courtesy of Matthew Tremblay, Jarred Land and RED Digital Cinema. Image courtesy of Matthew Tremblay, Jarred Land and RED Digital Cinema.Read more
PHFX’s new REDCamAssist is a powerful free online tool for all users of RED Digital Cinema cameras and R3D REDCODE RAW workflow. For anyone unfamiliar with RED cameras, the myriad possible combinations of resolution, associated crops, aspect ratios and R3D REDCODE data rates can be overwhelming to say the least. Phil Holland of PHFX has created a simple online tool called REDCamAssist that generates a comprehensive data sheet for any and all possible combinations of settings on all RED camera bodies. REDCamAssist is accessible from the PHFX website. With six simple input criteria, REDCamAssist generates a full blown datasheet that will prove more than useful to DIT’s and post production teams when planning post workflow especially. All you need to know to generate a full datasheet are: RED Camera Model Resolution Format Anamorphic Modeely Frame Rate Enable HDRx (Yes/No) The datasheet includes: REDCODE RAW Resolution and Format Details Film Format Relative Crop Factors Selected Camera Body Specifications Supported Recording Codecs REDCODE RAW Data Rates It’s very easy to use and makes it look like you’ve done all the hard work while in actual fact PHFX’s Phil Holland has done your homework for you. I can also see the tool being useful for anyone wanting to see what functionality they will get from various RED camera bodies before making a purchase decision. Phil has hinted that more amazing functionality is in the pipeline so REDCamAssist is definitely a page worth bookmarking.Read more
RED Digital Cinema has built a fully customised one-of-a-kind camera—the RED Xenomorph—just for David Fincher and his team to shoot his upcoming series “Mindhunter” for Netflix. Imagine you absolutely love your RED Dragon, but it ends up a mess of magic arms and cabling by the time you’ve added all your support gear. If only it were all permanently integrated into the camera. No cables, no magic arms, no rigs, no mess. Now imagine your name is David Fincher. For Fincher, nothing is impossible. As with all things RED, details tend to trickle out over time, but keep your eyes on this REDUser thread if you want to find out more. Here’s what we know. David Fincher’s RED Xenomorph Integrated: RED Weapon Dragon 6K Sensor Technology 7.0″ LCD Touch Paralinx wireless video Extended WiFi/Foolcontrol antenna array RT Motion Lens Motor Control Zaxcom wireless audio and timecode Anton Bauer Gold Mount Shoulder Mount Xenomorph-inspired brain design And, according to Phil Holland, who I’d like to thank for sharing the info, is my favorite of all: and a couple of other sneaky things Images are courtesy of RED and the Mindhunter Camera Dept. Before you ask: No. The RED Xenomorph is not, and won’t be, a commercially available new camera from RED. No. You can’t have one—unless your name is David Fincher.Read more
RED have made some recent announcements at NAB 2016. With “4K for all” and the all anticipated RED Raven around the corner, here are some of the highlights RED users can look forward to. RED Firmware Update RED have introduced a new recording format. All DSMC2 cameras will now be able to record in Avid DNxHR or Avid DNxHD. The new firmware update also allows for a very cool feature that will give some DIT’s relief. Shooters now have the flexibility to simultaneously capture REDCODE RAW and Avid DNxHR or Avid DNxHD – adding a whole new level of powerful workflow improvement to professionals shooting on RED. The firmware update is available for free, here. New DSMC2 Side Handle The new DSMC2 Side Handle is designed for shooters who prefer a compact handheld configuration. It features a molded rubber grip and puts primary camera controls right at your fingertips. The primary navigation wheel (front) offers direct control over lens focus while the secondary navigation wheel on the side supports iris functions. There are four customizable camera parameter buttons which provide quick access to controls such as exposure, white balance, magnification toggle, and autofocus. Besides the obvious record button, the handle has a MARK FRAME button, allowing you to tag frames while shooting and revisit them later in post-production. The DSMC2 Side Handle will cost $950 and will be available in Fall 2016. DSMC2 Jetpack-SDI Expander The Jetpack-SDI Expander is designed for aerial, gimbal, handheld, and other lightweight/remote applications that require 3G-SDI output. It also features connections for power (DC IN), SDI (3G-SDI), Gigabit Ethernet (GIG-E), AUX power, SYNC, and CTRL A selector switch enables the DSMC2 BRAIN to automatically boot when power is provided via the DC IN connector on the expander. This feature allows you to use a connected DC input supply to turn the BRAIN on and off when the camera is mounted in remote or difficult to maneuver locations. The DSMC2 Jetpack-SDI Expander will cost $1250 and will be available in Fall 2016. Red Pro Touch 7″ LCD The Red Pro Touch 7.0″ LCD is a 1920 × 1136 resolution display panel that provides improved color accuracy, high pixel density (at 323 ppi), and 1000:1 contrast. Apparently it is bright enough for operation in high ambient light. The lightweight display mounts to your BRAIN or other 1/4-20 mounting surface and provides a LEMO connection to connect to your camera. The RED Pro Touch 7.0″ LCD is an ideal monitoring option for gimbals, cranes, and remote (away from the camera) viewing. The Red Pro Touch 7.0″ LCD will cost $2950 and will be available in Fall 2016. DSCM2 V-Lock Battery Module The New V-Lock Battery Module can be used with REDBRICK or third party batteries. It offers a P-Tap connector, which is located on the top of the module, and supports a maximum current of 3.0 Amps. The RED DSCM2 V-Lock Battery Module will cost $595 and will be available in Fall 2016. More details about all the new announcements here.Read more
The RED Scarlet-X 4K camera isn’t naked anymore Individuals and companies who took the chance to buy the RED Scarlet-X early could either cover the rear pins on the camera with an accessory like the Redmote (controls camera functions wirelessly) or leave these pins exposed. Many weren’t comfortable with that thought and asked for a rear cover to protect the back of their precious 4K film device from dust and weather. We’ve just received an early production version of the $20 RED back cap. It is a simple mold made of plastic and it fits our Scarlet-X nicely. The cap should cover the more expensive RED Epic camera’s back just as well. It will be available at red.com soon. We’ll let you know when its up.Read more
Written by Mike Palermo In the Beginning As many DSLR shooters move to bigger and better cameras – with bigger and better recording formats – many of us will run into unforeseen problems when applying our tried & true DLSR workflows. Unfortunately, what works well for DSLR footage might not be the most efficient way to handle other codecs. This is important to consider, and particularly true, when switching to RED footage not because it’s overly difficult, but because the initial switch can get fairly costly and chances are your old workflow will be needlessly and massively time consuming. Fortunately, there are a few things you can do to alleviate the burden, saving your wallet, your time, or both. Read on:Read more
We only send updates about our most relevant articles. No spam, guaranteed! And if you don't like our newsletter, you can unsubscribe with a single click. Read our full opt-out policy here.