What would the NAB show be without some sort of announcement from RED? This year we’ve got a slew of news from the company, including Scarlet Dragon shipping info, a 4K broadcast module to send out up to 4K 60fps over 4 3G-SDI ports, Epic-M Monochrome details, new color science and even a handy RED-specific multi-tool. Hit the jump for the details.
Scarlet DRAGON
Attempting the quell the rumors of Scarlet’s discontinuation, this RED announcement should be encouraging for Scarlet owners. Here’s some footage from the regular Scarlet and Epic that Jarred Land posted as a reminder of the DRAGON predecessors’ quality (download the 2k ProRes here):
Since RED isn’t allowing the video to be embedded yet, check it out over at the RED forums.
House of the Rising Sun - Five Finger Death Punch
$14,500
“Likely” shipping in June
6K FF: 12 fps
5K FF: 48
4K FF: 60
3K FF: 75
2K FF: 120
5K 2.4:1: 60
4K 2.4:1: 75
3K 2.4:1: 100
2K 2.4:1: 150
New RCX with Dragoncolor and REDgamma 4
Potentially the most important of RED’s announcements today, this ushers in the next generation of Graeme’s color science that the RED cameras rely on. Here is a little bit that’s new with the REDCINE-X:
Updated: New look and feel.
Added: DRAGONcolor and REDgamma4.
Added: Advanced Dragon Debayer (A.D.D.) with HDRx and motion support.
Added: Support for camera generated markers.
Added: CUDA support.
Added: Ability to filter wav files from the browser.
Added: Rating can now be applied to both clips and frames through context sensitive keyboard shortcuts.
Added: Rating a frame now automatically creates a frame marker.
Updated: Default keyboard shortcuts for rating, video out and L/R stereo toggling have been changed.
DSMC Firmware v5.2.8
REDLINK Module support (wireless networking and wireless hand controller)
4K Broadcast Module support
Switchblade Module support
Dragon Monochrome support
Scarlet Dragon support
Public REDLINK Control Protocol support
DRAGONcolor (Dragon only)
REDgamma4 as default gamma
4 User Calibration Maps available (Dragon only)
Calibration map programming time optimized (Dragon only)
Added frame processing (Dragon)
Increased max exposure time to 1 sec (Dragon)
Rack point UI enhancements
Optimize color science updates
Clean format transitions
Video markers support
Video markers / regions in playback
Pre-trigger added to trigger mode
Burst mode capture
Updated UI theme
6:5 formats added for full height 2.40:1 2x Anamorphic de-squeeze
Horizon line UI overlay
A-X track toggle in preview and playback
Added additional supported lenses
SSD fragmentation detection
Added Exposure Assist
RED 4K Broadcast Module for DRAGON
Designed for broadcast professionals, this DRAGON-only module is due to make a lot of people happy who have wanted to use their RED cameras in broadcast environments.
Since RED isn’t allowing the videos to be embedded yet, check it out over at the RED forums.
RED 4K Broadcast Module for DRAGON
RED QUICK START: 4K BROADCAST MODULE from RED Digital Cinema on Vimeo.
Live uncompressed YCbCr 4:2:2 video feed
Up to 4K / 60 FPS via Quad 3G-SDI
BNC ports for timecode and genlock
RED Switchblade-M
An alternative to the touch-screen REDmote, this machined-aluminum attachment goes in place of the side-handle and will be helpful for camera assistants who want information on the side.
$950, availability TBD
Side-mounted tool-less camera control interface
OLED
DRAGON Epic-M Monochrome
The Fincher-tested Monochrome camera finally has price and shipping dates.
$31,500
Shipping April 28th
REDlink and REDLINK Development Kit
This is an open protocol that allows 3rd parties to control the camera via the REDLink module or via Serial/Ethernet. This could be a useful tool for controlling the camera when on a Movi, a crane or other rigs where the camera is not immediately accessible. Foolcontrol is an example of a 3rd party utilizing the REDLINK SDK.
Since RED isn’t allowing the video to be embedded yet, check it out over at the RED forums.
$395, shipping now
Integrated THC wireless lens control
REDMAG 1.8″ 240GB
This new faster SSD is replacing the previous REDMAG 256GB. Also, all media purchased from RED in the past 6 months and in the future will come standard with a 1 year warranty.
$1,450
Shipping in 6-8 weeks
Includes 1 year warranty.
RED Sidewinder Multi-tool
This is a custom tool that covers all the standard screw sizes found on RED equipment, with threaded holes to carry spare bolts.
$28 (tool-only) or included in the DSMC Bolt Set ($50)
Carbon RED Mini-Mag Side Module + Magnesium Mounts
Carbon mini-mag side modules can now be ordered with all Carbon Dragon orders. Red is also expanding their Magnesium mount options for Carbon Dragon owners to Leica, Canon, Nikon and PL mount.
Side modules shipping by the end of April
Phew! That’s it for now from RED. Stay tuned for more NAB announcements throughout the week and join the discussion in the comments below.
Link: Recon — REDUser Forum
Digital technology is racing to replace celluloid in the theatrical space at an incredible pace. With many of the top professionals in the industry moving solely to digital, the landscape is changing drastically. Just recently we had one of the more respected cinematographers working today, Roger Deakins, talking about his experience using the Arri Alexa. Now, Ridley Scottgives us a little bit about his experience working with the RED EPIC in 3D and also explains how we can get people back into movie theaters:
Often bigger Hollywood movies are the ones that get the huge screen (IMAX) treatment, but what’s interesting is that even smaller movies can benefit from a giant screen. This is something that has been mentioned about Christopher Nolan’s Batman films that have used IMAX extensively. Small, quiet moments are amplified when a face is 100 feet tall. While not quite RED’s intention, there is something to be said for extremely high resolution in that case, as humans are very sensitive to small movements in a person’s face. I generally prefer a digital image that feels closer to film without the “side effects” of silver halides and celluloid, and that usually means sharp without being “too sharp.” Digital also has the ability to reach into the darker areas of an image like we’ve never been seen before, and it lets DPs light in a far more realistic way — especially since the cameras are so sensitive to light.While a partial advertisement for RED, the video above played before Loom at NAB 2012. Watching Loom on RED’s 3D projector — which utilizes lasers to achieve a truer frame rate without utilizing triple flashing — was the least distracting 3D experience I’ve ever had. 3D may be losing favor among consumers, but there have been only a few films over the last few years that have really tried to take advantage of the format as a storytelling tool. Of course, the biggest takeaway from the video is that Ridley doesn’t necessarily advocate 3D as a way to get people back into the theater, but better stories first and foremost, and then pristine picture quality and excellent audio. There’s no question we can all strive to make our stories better, and the digital camera is simply another tool to help facilitate that.
by joe Marine Link: Ridley Scott — RED Digital Cinema — Vimeo
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 RED EPIC 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.
