RED Debuts Redlink Development Kit to Remotely Control Cameras

At NAB Show, RED has debuted its new Redlink Development Kit, a wireless box that attaches to RED cameras and makes them controllable remotely.

Megan Geuss of Ars Technica explains, "Using the Development Kit, filmmakers can build their own apps to remotely control features 'including Record Start/Stop, Shutter Speed, White Balance, ISO, and programmable User Keys,' a Red press release said. 'You can also program your custom app to monitor the status of your camera settings.'"

The Kit retails for $395. Read the full story here.

Understanding the Crop Factor of Camera Sensors

As part of their ongoing learning series, RED has posted an article on understanding sensor crop factors.

They write, "The crop factor and size of a digital sensor affects numerous image characteristics, including depth of field, angle of view and cropping. In this article, we explore the relative trade-offs as they pertain to cinematic capture."

Read the full story here.


The Science of Human Eyesight and Viewing 4K

RED takes a look at the science behind human eyesight and 4K viewing.

They write, "Resolution has been advancing continuously since the early days of analog television. The latest incarnation is 4K displays, but even higher resolution devices are possible. In this article, we take a closer look at the science of visual acuity, along with when higher resolutions are beneficial to the viewing experience."

Read the full story here.


Sharp, THX, RED Team on 4K Film Competition

Mahwah, N.J. – Sharp said it has joined forces with THX and RED on a “resolution revolution” promotion highlighted by an “Art of Amazing 4K Film Competition.”

Sharp, THX and RED have started inviting independent filmmakers to create a short (four minutes or less) film that captures “the art of an amazing 4K entertainment experience through: energy, light, and scale.”

The content can be abstract, narrative or technical, as long as it “feels amazing.”

The Science of Temporal Aliasing

RED takes an in-depth look at the science of temporal aliasing, writing, "Motion capture techniques have been evolving continuously since the early days with film. However, related artifacts such as flickering, stuttered motion and blur have all remained a concern. In this article, we take a deeper look at the science of temporal aliasing, along with how this can be used to improve cinematic quality."

Read the full story here.


Resolution vs. Aliasing

RED talks resolution and aliasing, writing, "There is often a lot of discussion about whether a particular device truly has a given resolution, such as 1080P, 4K or something else, along with how this impacts image quality in general. In this article we’d like to clear up some of that confusion by investigating the trade-offs of any discrete imaging system."

Read the full story here.


All About Rolling and Global Shutters

RED provides a primer on global and rolling shutters, writing, "A camera’s shutter determines how and when light gets recorded during an exposure. In this article, we’ll explore the various shutter mechanisms that have been implemented, ranging from early film to recent digital cameras."

Read the full story here.


Using Shutter Angle as a Creative Tool

RED writes a post explaining shutter angle and some of its creative uses.

They write, "The 'shutter angle' is a useful way of describing the shutter speed relative to the frame rate. The term is a conceptual relic of rotary shutters, where a disc with an angled opening would spin and let in light once per revolution to expose each frame. The larger the angle, the slower the shutter speed—all the way up to the limit of 360 degrees, where the shutter speed could become as slow as the frame rate. At the other extreme, the shutter speed can be made arbitrarily fast by decreasing the angle."

Read the full story here.


Best Practices for Camera Panning

RED has posted a helpful article on the best practices for panning.

They write, "Camera panning is one of the most utilized cinematic techniques, and for good reason. It can make otherwise static shots more dynamic, give vistas a more expansive feel, and track the movement of a subject, among other benefits. However, results may appear unusual if the panning rate, settings and method are suboptimal. This article discusses best practices for improving results."

Read the full piece here.


Watch Three Short 4K Films Edited in Final Cut Pro X is featuring four new short films from Logan Kelsey, all shot on 4K on RED cameras and edited in Final Cut Pro X.

They write, "A treat this morning. No new products, no plugins, not even a new lens flare pack, just some great examples of 4K RED work that has been post produced in FCPX. Grab a coffee (you will get thirsty) and enjoy!"

Read more here.

Ryan Lewis on Using RED for His Music Videos

Ryan Lewis talks to RED about using their cameras on his music videos, most recently on the shoot for his and Macklemore's "Can't Hold Us."

He says, "Prior to shooting on RED, I shot many music videos on digital SLRs. Investing in a RED setup first and foremost made music videos feel much more like films. The aesthetic of an SLR within music videos is now very common to a viewers eye. It’s a particular look that works for some video concepts but wasn’t satisfying some of the more extensive videos I wanted to make (“Thrift Shop,” “Same Love,” et cetera). Switching to RED I found a much larger range of color and shadows/highlights, crispier resolution, no more issues with jello’y pixels from a slow sensor, access to much higher quality lenses, et cetera. The benefits were endless."

Upscaled 1080P Vs. Native 4K

RED explains upscaled 1080p vs. native 4K, writing, "Upscaling attempts to utilize higher resolution displays without higher resolution content. In this article, we compare how low resolution, upscaled and native high resolution content appear, along with discussing the motivations behind each solution."

Read the full article here.


Eleven Minutes and Fifty Seconds With RED Ted Schilowitz

Cinescopophilia writes: Curt Pair and Band Pro recently caught up with Red co-founder Ted Schilowitz and he shared some insight into the latest offerings from Red Digital Cinema at NAB 2013.

Red Digital Cinema are leaders in the production world. They started their career at NAB, some seven years ago in a little tent. Many laughed at their “dream” of making a 4K camera. Once a reality, no one laughed anymore! Instead, the biggest projects in Hollywood fell in line, and they started shooting some of the largest projects in the business on Red cameras. It’s only apropos that Red Digital Cinema take the lead once again, this time with the release of their Dragon 6K sensor, at NAB 2013.


Chroma Subsampling Techniques

RED writes: Video compression is commonly thought of as being unique to digital, but it’s also been around since the early days of analog. Compression has just become more sophisticated since then. In this article, we will take a look back at one early strategy in particular: 4:2:2, 4:1:1 and 4:2:0 chroma subsampling.


Vision specialists have long known that our eyes are much less sensitive to color resolution than we are to brightness resolution.


Watch RED's Showreel from NAB

Watch RED's showreel from NAB featuring beautiful shots from films like The Great Gatsby, 42, The Hobbit, The Girl with the Dragon Tattoo, Oz the Great and Powerful and more.

Watch below. (via Cinescopophilia)


The RED Camera Survival Guide Available for Free Download

RED has released the Spring 2013 version of their RED Camera Survival Guide, available for free download now. The guide spotlights all of RED's products and different configurations as well as providing an intro for still photographers looking to make the transition into film.

Download it here.


RED Brings Their Actual Production Line to NAB

Watch Digital Journal on the NAB floor as they talk to RED's Ted Schilowitz who showcases the manufacturing line that they brought with them to NAB last week.

Says Schilowitz, "The only company that RED can beat with technology is ourselves because we're already at the highest end of the industry. So what we're doing now is going from 5K to 6K and we're completely in that leadership position."

Watch below.

RED Introduces DRAGON, REDlink and RED ROCKET-X at NAB

RED Digital Cinema introduces the 6K sensor RED DRAGON, the REDlink family of wireless products and the RED ROCKET-X at NAB this week.

ISO Speed Revisited

RED writes: Most are familiar with how ISO controls a camera’s sensitivity to light and susceptibility to film grain. However, ISO has other consequences with digital, and its implementation often varies. This article explores how ISO is evolving and influencing camera technique in the digital era.


With film, one had to select and load a specific magazine in advance, so the ISO speed had to remain constant. If the exposure needed tweaking afterwards, the film could be “pushed” or “pulled” during development. However, doing so was only practical within a limited range of effective sensitivities—otherwise colors, contrast, grain and other qualities would suffer.



A RED and Final Cut Pro X Workflow

Sam Mestman of MovieMaker writes up his RED and Final Cut Pro X workflow, writing, "How fast is this workflow? Well, what used to take an assistant and me, working around the clock in shifts during the full shoot and probably an extra week or two using Final Cut 7, can now be done by just one person in FCPX, in less time. On the most recent film I worked on using this workflow, I was able to get an assembly edit of the entire film done within two days of the film wrapping, and I didn’t even have to drive myself crazy doing it. How? Simple: The metadata-based project prep in FCP X and R3D proxy workflow. Not only that, but for you RED fans out there, I’m going to let you in on some hidden tricks in FCP X.

RED Posts 6K Images from Dragon Sensor

RED has posted uncompressed 6K images from their prototype Dragon sensor along with some words from Jim Jannard:

"I have tremendous guilt because we are late. That is the main reason for going silent. Having said that… we are finally about to unleashed a bevy of stuff to blow away everyone’s expectations.

Everything gets better, including color science. OLPF gets better. Color gets better. Resolution is up. Dynamic range is off the chart. Obsolescence obsolete. RED. And we still have no idea what we are doing…. just wait until we figure it out."

See the images here. (via Cinescopophilia)


Black Shading: What It Is and When to Use It

RED has posted a tutorial on black shading and how and when to use it. They write, "Black shading maximizes image quality by ensuring that pixel sensitivity remains consistent throughout an image. The technique has been used for a variety of high-end applications in digital capture over the years."

Read their full post here.


RED's Dragon Sensor Surpasses Dynamic Range of Film

A new sample image from RED's upcoming Dragon sensor shows that the revolutionary sensor is capable of poducing 20 stops of dynamic range. Explains Filmmaker Magazine, "Jim Jannard said that they see 18+ stops, and that the sensor would have about four stops more dynamic range than Red’s current Mysterium-X sensor with less than half the noise...with this development they say that sensors now surpass the dynamic range of film."

The upgrade price of the sensor, originally quoted at about $6000, is now expected to go up. RED Scarlet will also not be able to upgrade to Dragon. See the sample image and read more here.

Peter Jackson and Jim Jannard Make Beautiful Cameras Together

Director Peter Jackson talks to Forbes about his longstanding friendship with RED founder Jim Jannard and how it played into the making of The Hobbit. He says, "As we were developing the film, we were telling him the sort of things that we needed for the film. It was really amazing how Jim turned his technicians on to helping us with the problems that we wanted to solve. And they all got built into the [RED Epic] camera...We kept asking him for higher and higher frame rates, because even though we were shooting at 48 frames, we still wanted to shoot slow motion. Which meant that we needed to go up to 120, 150 frames a second. And so we kept pushing him. I know that when we started shooting The Hobbit the cameras were capable of going to about 60 frames, then to 96, and then about three or four months into The Hobbit, they got up to 120. And now I think they’re 150 now.

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