We're very excited about this video. It is filmed using HDR (High Dynamic Range) and gives the video a very distinctive look that is entirely appropriate for its subject matter: New York. And it may just be a very important moment in the history of film-making

RED and, say, Sony are diametrically different in so many ways, and perhaps no more so than in the way that the EPIC manufacturer absolutely loves to let information about new products seep from every pore

RedShark contributor Freya's spotted what might be the first musical outing for the RED EPIC Monochrome, recently reviewed in these pages

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

Proving the axiom that not all firmware updates are created equal, RED packs a punch via its ‘Build 4’

We've been given a RED EPIC M Monochrome to use for a couple of weeks, lent to us by RED’s European headquarters in Pinewood Studios, West London. Why does this very high resolution black and white video camera even exist?

Why would someone specify a camera before they chose the cinematographer? David Read despairs...

One big and consistent criticism of the RED Scarlet and EPIC cameras has been the fan noise. Even the die-hard owner operators who love their cameras compare it to a hairdryer when it is in full effect! RedShark contributor Freya reports

RedShark contributor Phil Rhodes pointed out something to me the other day that sounds obvious when you hear it: that camera makers never used to make film, and yet - if you can remember that far back - it is the film that determines the quality and feel of the photograph (and the lens, of course), not the camera

Following up his "first impressions" article, Phil Rhodes reports on his actual use of this most unusual of cameras