With REDs Dragon sensor grabbing most of the headlines, there was some very interesting tech launched by RED at NAB that you might have missed. Heres a roundup
There's always a moment when the harsh nature of reality is crystallised; when however hard you try, you can't pretend any more that things are OK. For most people, this type of thing happens when they get their first credit card bill after Christmas. For Red, one imagines, their corporate hearts stopped for a moment last Tuesday, 30th October, when Sony revealed the scale of their new camera ecosystem.
Could this be the first moving footage from the new Red Dragon sensor?
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
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.