Proving the axiom that not all firmware updates are created equal, RED packs a punch via its ‘Build 4’
RED, the makers of the beyond-4K cinema cameras, have a vested interest in making you want these higher resolutions. But they do explain it very well
The main offering from RED at this year's IBC is its new RED 7-inch touchscreen, while it also has a new set of interchangeable OLPF filters that promises to take the concept of modularity to the extreme.
A show’s look is a powerful storytelling cue that helps orient an audience to a story’s intended genre and tone. In general, comedies look sharper, bluer, and more immediate. Dramas look more diffused, warmer, and past tense. It is the cinematographer’s responsibility to create a look that is consistent with the program’s genre from the very first frame. In this article Barry Braveman looks at how this can be achieved.
Using just a single RED Epic and a simple 75mm master prime… oh, and an old building crammed with actors, dancers, acrobats, complex lighting, technicians, directors, producers and the film crew, this amazingly complex video was captured at 300 fps in a single shot
Electronics is so completely integrated now that building new equipment is just a matter of glueing together a few parts you can buy from the Internet. Is this true? And is this the biggest threat to traditional camera manufacturers? In this article, we investigate this, and the background to it, in detail