Dior Secret Garden III

Tercera entrega de la campaña para Dior dirigida por Inez & Vinoodh, filmada con cámaras Red Dragon en los jardines de Versalles.

NASA utiliza el HDRx de sus Red Epics

La NASA a publicado como utiliza el HDRx de sus Red Epics, interesante.

RED EPIC High Dynamic Range Test - Delta 4 WGS 5 from Advanced Imaging Lab on Vimeo.

Tras cámaras del Hobbit 2

Pruebas de cámara 4K.

Interesante y muy completa serie de pruebas con la mayoría de cámaras capaces de filmar en formato 4K, actualmente disponibles en el mercado del audiovisual profesional. (Sony F65, F55, RED Epic, Red Scarlet, Canon C500, Canon 1DC, JVC HMQ10). Filmado con el apoyo de KOCCA (Korea Content Creation Agency) por el Director de Fotografía Jae-mo Koo.



Las pruebas verlas en calidad full HD para apreciarlas mejor.

Enter the Dragon!

Si, la comidilla en internet es lo que logra el nuevo sensor Red Dragon, y la entrega a determinadas personalidades de la industria cinematográfica de manera paulatina y constante de la cámara con el nuevo upgrade. El nuevo sensor tiene una resolución de 6K, un rango dinámico de 16 stops de diafragma, y una sensibilidad nativa de 200 ISO, WOW!

Aquí vendría un largo post sobre la necesidad de filmar o no en 6K, si la ARRI Alexa posee mejor rendición de color, o que la Sony F65 con su sensor de 8K para lograr 4K reales es la verdadera competencia de esta del Dragón. La verdad es que al ser el más nuevo en el barrio, el Red Dragon aún necesita que muchos prueben su eficacia y genialidad detrás de la tecnología para desarrollarlo, y así determinar su supremacía en el mundo del Cine Digital Profesional. Por lo pronto, veamos el material que se encuentra en la web de esta nueva herramienta.

Jim Jannard "My final post..."

Jim Jannard, fundador de Red Digital Cinema (fabricante de las cámaras Red One, Red EpicX y Red Dragon), publicó hoy lo que ha llamado su artículo final, en el forum de Red (link), el cual reproducimos aquí íntegramente. Si es cierto que se retira para siempre (dejando a cargo a Jarred Land), pues le decimos adiós con un gracias infinito, porque a pesar de todo lo polémico del devenir de sus cámaras, la verdad es que cambió el rostro del Cine y el Audiovisual para siempre. Suerte Jim Jannard!

I have said before... I'm tired. I really am.

I started Oakley with $300 and then proceeded to put over 5,000 people to work in California. Against all odds, we passed RayBan in worldwide sales in 1996. I am so proud of what we accomplished at Oakley. Inventions wrapped in art. Thermonuclear Protection. I actually had an impeccable reputation every day from start to finish. 

In 2005, I could see that the powers that be (Sony, Arri, Panavision) were going to attempt to persuade the film industry that 1080P was going to be the digital replacement for film. The F900, F23, Genesis, D20. I did not agree. As a film fanatic, I knew that digital would replace film, but I wanted that replacement to be respectful to film. 1080P or 2K was not respectful.

So at the end of 2005, I made the decision to start RED. The idea was to make a 4K digital camera. My thought was to create a film alternative that actually was the equal or better to film in every aspect. Send film to the retirement home proud of what we had done.

Now... replacing film properly is no easy task. It is about resolution, dynamic range, color, ease of use, cost to shoot, post options... quite a lot of stuff. We accepted the challenge.

In 2006, we announced the RED ONE. 4K for under $20K. That was quite shocking. Sony's digital cinema cameras were $200k+. Apparently shocking enough that I almost got into a fist fight with Geoff Boyle in the aisle of NAB where he questioned why we would "scam" people into giving us $1000 deposits for a product that could never happen. Scam? This is the 1st time anyone had ever questioned my integrity. Ever. In hindsight, I wish I would have pulled the trigger. Maybe I'll get the chance one day. Actually... I look forward to it. (furrowed eyes here)

At that NAB in 2006... we also declared Obsolescence Obsolete. We talked about upgrades instead of having to buy a new camera every time there was some new technology advancement. This concept was new. I had never seen a company do what we were talking about. I still haven't. The question is... could we really do this?

We released the RED ONE with Mysterium sensor... 4K for $17,500 in 2007. It recorded 4K REDCODE to a Compact Flash card! The only way we could do that was through incredible compression technology. "Ché" and "Knowing" were shot on this camera.

Our color science improved on a continual basis. We upgraded firmware for free... as we should have.

Then... we developed the next generation sensor, the Mysterium-X. We offered this sensor as an upgrade. You didn't have to buy a new camera, just send your camera in and pay for the upgrade. As far as I know, this was a first in the entire camera world. Obsolescence Obsolete was alive. Several more features were shot on the RED ONE MX, including "The Social Network", "The Girl with the Dragon Tattoo", "The Informant" and many others.

I should mention here that there were many color science and feature upgrades... for free. Again, what company ever offered that?

Enter the EPIC. As promised, Obsolescence Obsolete continued. Trade in your RED ONE for FULL price value towards an EPIC. I defy anyone to find a program on any electronics product in any industry like this one. Your "old camera" just became a "new one".

EPIC is legendary. The amount of projects shot on EPIC will go down in history. "The Amazing Spiderman", "The Hobbit", "Prometheus", "The Great Gatsby"... the list is too long to type.

So what next? The Dragon.

The Dragon is an Obsolescence Obsolete upgrade. More resolution. More dynamic range. More color depth. And it is an upgrade.

Somehow... I read on CML and other idiotic forums, that I an a hypester, a scam artist. I just have to wonder what these guys are smoking. But I have to say... they have gotten to me. I don't need this. I don't deserve this. Life is short and I am tired.

I can only hope that the incredibly stupid posts from people like Geoff Boyle and Art Adams (many other CML posters) do not in any way taint the work we have actually done.

With the release of the Dragon sensor... I have finished my mission. I am done posting. I will no longer be the face of RED. Mercifully, Jarred will take my place and he is worthy times forever. Jarred is me... only 30 years younger.

My final thoughts...

I have done my best. I saw a fatal flaw in the camera industry. We did our best to address it.

I will now sink into the background, I hope with my reputation intact. I will work on the future of digital cinema... behind the scenes.

God love us all.

Jim
"The camera is arguably one of the most important of all inventions… it is the single tool that has the ability to stop time, record history, generate art, tell stories, and communicate messages that transcend language like nothing else ever conceived."

"Everything in life changes... including our camera specs and delivery dates..." 

We reserve the right to refuse service to anyone with a bad attitude.

Cámaras 4K, quien fué primero?

Jim Jannard ha aclarado algunas dudas que se han generado con respecto a la historia del 4K y su adopción por la Industria del Audiovisual en general.

Tomado de Reduser.net 

Sony… get real.

It appears that Sony is now attempting to re-write history and be the champion of 4K.

http://www.pocket-lint.com/news/1206…ouple-of-years

Really? I don’t think so…

Re-writing history isn’t going to happen because I am personally not going to let it happen. Let’s get this one straight. RED… 4K delivery. Period.

What are the facts?

Sony developed the Genesis digital camera (with Panavision as the frontman) in their best effort to replace film with digital. Just ask John Gault. It was a 1080P camera. RGB codec.

After the Genesis, Sony released the F-23 Digital Cinema Camera (without Panavision). It was still 1080P. And it recorded RGB to an SR deck. It was $225K+. This was the best that Sony had to offer the cinema industry. The RED ONE (4K) was less than $20K at that time.

About the time we released the EPIC (5K for a 4K finish), Sony released the F35. The F-35 was $325+ with SR deck RGB recorder. Again… it was 1080P. But it was full frame… (rolls eyes).

Finally, in 2012, (over six years after we championed 4K), Sony released the F65. Good for them. It was about time. While Sony misrepresented it as an 8K camera… it actually is a 4K camera, that is OK with me. They finally joined the 4K club.

At CES this year (2013), there were 28 4K panels shown by several companies and the world began to understand that 4K is finally here. Sony was one of the many companies that showed 4K panels. Surprisingly… Sony had no 4K player. Of course RED did. Apparently Sony forgot that you need a player to complete the 4K ecosystem.

And now Sony wants to pretend that they are the company that invented and is delivering 4K? Their lack of belief in 4K is the single reason that RED exists.

Make no mistake… Sony was NOT the company that dictated the future. Quite the opposite. They were the obstacle to the future. Apparently they have now seen the light (under pressure). Just remember they were the last one in…

And one last thing… apparently the Sony camera division needs to emulate RED in just about every way imaginable. Flattering. I’m blushing.

One last thing… I’m talking about Sony Electronics. Sony Pictures rocks.

Jim

4K para todos. RED pone nuevos precios a sus cámaras.

Estos son los nuevos precios para las cámaras Red Digital Cinema. 4K para todos.

 

 

  Today, 08:57 PM

As I said before, everything in the electronics world changes... usually for the better, cheaper and faster. EPIC and Scarlet just did. Right now.

We have built an incredibly efficient factory in Irvine, California and over time learned how to make EPICs in quantity, lowered our assembly costs, found better suppliers and fully paid off our NRE. When we assembled the 1st EPIC camera in Stage 6 at RED Studios Hollywood it took our team 12 hours. It took two more days to de-bug. Today we can assemble an EPIC in 13 minutes and 95+% need no re-work after diagnostics and testing. It is a testament to our manufacturing team and supply chain teams.

Since our costs are now significantly lower we are re-pricing our cameras as of now.

For those of you that purchased a new Scarlet ( not battle tested ) or EPIC brain on or after Oct. 1st 2012, the next time you order accessories from RED you will receive a discount to use towards that purchase. $1000 for Scarlet and $4000 for EPIC. Talk to your Bomb Squad representative when you are ready to use this discount.

Now… here is the new pricing:

5K EPIC-X Brain- $19,000

5K EPIC-X Monochrome Brain- $20,000

5K EPIC-M Brain- $24,000

5K/4K Scarlet Brain- $7,950

4.5K RED ONE M-X Battle Tested- $4000 (includes SSD recording module). The RED ONE is End of Life. Battle tested is all that will be available from here on out.

Due to high anticipated volumes, plan on extended response and processing times.

Dragon sensor upgrade is not included for any EPIC system purchased at the new pricing going forward. It will be a $6K upgrade.

Pricing is being updated on www.red.com as I post this.

Jim

Last edited by Jannard; Today at 10:31 PM.

Ridley Scott y la Red Epic

¿Es tu mundo en 4K? Exportando desde el RCX: una introducción.

Cierto es que cada vez preferimos mejores herramientas al momento de asumir nuestro proyecto audiovisual, y eso incluye las cámaras Red EPIC X y Red Scarlet X. Capaces de filmar a una resolución de hasta 5K a 120fps (Red EPIC X) y en formato RAW (.R3D), las posibilidades creativas se vuelven infinitas.

Pero resulta que a pesar de la disponibilidad de estas herramientas, no todos disponen de un Director de Fotografía con la experiencia suficiente, o un sistema de postproducción adecuado para lograr todas las maravillas de trabajar en formato RAW, y en consecuencia el producto final resulta considerablemente inferior a lo que en un principio se esperaba al utilizar estas herramientas.

Un detalle interesante sobre estos sistemas de cámaras en específico es que cuenta con su propio software para manipular sus archivos .R3D, hacer corrección de color y conversión a otros formatos, RCX es su nombre (RedCineX).

El hecho de filmar en formato RAW, como todos saben, signifíca que al filmar obtenemos solo los datos del sensor antes de cualquier procesamiento de las imágenes, teniendo como resultado un negativo digital, que al igual que el negativo tradicional (película, celuloide), necesita ser procesado para así obtener una imágen real a partir de la imágen "latente" en ese negativo digital. Como sabemos al archivo RAW se le puede procesar de manera que podemos cambiar todos los parámetros, incluyendo ISO y white balance, convirtiéndolo en manos experimentadas en una poderosísima herramienta visual.

Red Digital Cinema ha publicado un nuevo video sobre como exportar el material filmado con cámaras Red Epic X, Red Scarlet X y Red One (M y MX), desde el RedCineX, un punto extremadamente importante dentro del sistema de trabajo con estas cámaras.

Voy a exportar mi trabajo, pero.. Prores 4444? DPX? Como hacerlo?

Acá les dejo el video, así como un video hecho a partir del material recopilado de usuarios de estas cámaras y que fué proyectado en 4K en la NAB de 2012.

Exporting from RED Digital Cinema on Vimeo.


Is Your World in 4K? from RED Digital Cinema on Vimeo.

Build 32. Obsolencia obsoleta.

Red Digital Cinema acaba de poner a disposición del público un nuevo build (firmare update completamente gratis) para la RED ONE, que habilita el RedColor 2, RedColor 3 y el RedLogfilm para las cámaras RED ONE, así como la posibilidad de leer files .RMD, haciendo realmente válida su máxima de "obsolencia obsoleta".

 Build 32

En palabras de Jarred Land en el sitio de RED. (link)
"A little love to our RED ONE customers to bring them into the world of RC2 & RC3 and .RMD files as well as fixing some lingering bugs.
enjoy!"

The smallest cameras makes the biggest images

Maravillosa campaña publicitaria de Red Digital Cinema para la revista de la ASC (edición impresa).

REDmote

REDmote from RED Digital Cinema on Vimeo.

TimeScapes. 4K es ahora!

TimeScapes es una obra maestra filmada en glorioso 4K, mostrando la belleza del sudoeste norteamericano planeta a travéz de increíbles timelapses. Dirigida y filmada enteramente por Tom Lowe, la primera película en ser ofrecida al público en 4K, ya está en iTunes en fullHD (1080p) y es posible descargarla desde su web (link) en 2K.
Filmada enteramente con cámaras Red One, Red Epic M y Canon (para gran parte de los timelapses), ya tiene el reconocimiento de muchos críticos, especialistas y público en general.

HASSELBLAD vs RED EPIC

Interesante comparación entre una HASSELBLAD (cámara de medio formato) y una RED EPIC (cámara de cine digital profesional). Disfruten.

PROMETHEUS- Making Of: Creation

Acaba de salir un featurette sobre la película PROMETHEUS precuela de la saga ALIENS®, dirigida por Ridley Scott (Alien® 1979), y que nos muestra como con esta película, nace un nuevo mito del cine universal.




Filmada en formato S3D con cámaras RED Epic X (5K de resolución), promete ser uno de los filmes de culto del nuevo milenio.

Montura Canon para RED Epic/Scarlet: qué óptica usar?

 
Esta es la lista de la óptica (electrónica) recomendada por RED, que puede ser utilizada con la montura Canon para la RED Epic/Scarlet.

Canon EF 100-400mm f/4.5-5.6L IS
Canon EF 100mm f/2.0 USM
Canon EF 100mm f/2.8L Macro IS USM
Canon EF 135mm f/2.0L
Canon EF 135mm f/2.8 Softfocus
Canon EF 14mm f/2.8L II USM
Canon EF 15mm f/2.8 Fisheye
Canon EF 16-35mm f/2.8L II
Canon EF 17-40mm f/4L
Canon EF 180mm f/3.5L Macro
Canon EF 200mm f/2.0L IS
Canon EF 200mm f/2.8L II
Canon EF 20mm f/2.8 USM
Canon EF 24mm f/1.4L II
Canon EF 24-105mm f/4L IS
Canon EF 24-70mm f/2.8L
Canon EF 24mm f/2.8
Canon EF 28-300mm f/3.5-5.6L IS
Canon EF 28mm f/1.8 USM
Canon EF 28mm f/2.8
Canon EF 300mm f/2.8L IS
Canon EF 300mm f/4L IS
Canon EF 35mm f/1.4L
Canon EF 35mm f/2
Canon EF 400mm f/2.8L IS
Canon EF 400mm f/4.0 DO IS
Canon EF 400mm f/5.6L
Canon EF 500mm f/4L IS
Canon EF 50mm f/1.2L
Canon EF 50mm f/1.4 USM
Canon EF 50mm f/2.5 Compact Macro
Canon EF 600mm f/4L IS
Canon EF 70-200mm f/2.8L IS
Canon EF 70-200mm f/2.8L IS II USM
Canon EF 70-200mm f/4L
Canon EF 70-300mm f/4-5.6 IS USM
Canon EF 70-300mm f/4.5-5.6 DO IS USM
Canon EF 800mm f/5.6L IS
Canon EF 85mm f/1.2L II
Canon EF 85mm f/1.8 USM
Canon EF-S 10-22mm f/3.5-4.5 USM
Canon EF-S 17-55mm f/2.8 IS USM
Canon EF-S 18-200mm f/3.5-5.6 IS
Canon EF-S 60mm f/2.8 Macro USM
Sigma 10-20mm f/3.5 EX DC HSM
Sigma 20mm f/1.8 EX DG ASP RF
Sigma 24-70mm f/2.8 IF EX DG HSM
Sigma 50mm f/1.4 EX DG HSM
Sigma 70-200mm f/2.8 EX DG APO Macro HSM II
Sigma 85mm f/1.4 EX DG HSM
Sigma APO 50-150mm f/2.8 II EX DC APO HSM

El último día.

Hoy es el último día del año 2011, y también la última oportunidad de poder hacer un pedido por la Red Scarlet-X o la Epic-X con los precios actuales. A partir de las 12 de la noche de hoy, todas las opciones de estas cámaras en cuastión aumentarán su precio significativamente. En palabras de Jarred Land publicado en el forum de Red.com. Today, 02:36 AM Hey everyone, just a reminder come Jan 1st price adjustments come into play , so tomorrow is your last day to get your pre-orders in at current pricing for Brains and Brain packages. Some good news though.... since a lot of accessories are still in backorder and/or development, we have decided to extend out the price increases on all the individual accessories that were to increase on January 1st out until March 1st. SCARLET-X (Brain only) Jan 1: $9700 Current: SCARLET-X with Side SSD / Ti PL Mount is $11,250. Jan 1: $13,200. Current: SCARLET-X with Side SSD / Ti Canon Mount is $11,250. Jan 1: $13,200. Current: SCARLET-X with Side SSD / Al Canon Mount is $9750. Jan 1: $11,700. Current: SCARLET-X with Side SSD / Ti PL Mount package is $15,515. Jan 1: $17,465. Current: SCARLET-X with Side SSD / Ti Canon Mount package is $15,515. Jan 1: $17,465. Current: SCARLET-X with Side SSD / Al Canon Mount package is $14,015. Jan 1: Move to $15,965. Current: EPIC-X (Brain only) is $27,500. Jan 1: Move to $34,500 Current: EPIC-X with Side SSD / Ti PL Mount is $31,000. Jan 1: $38,000 Accessories : Current: DSMC Side Handle is $950. March 1: $1200 Current: RED Touch LCD 5" is $1600. March 1: $1950 Current: REDmote is $550. March 1: $750 Current: Pro I/O Module is $2950. March 1: $3750 Current: Pro Battery Module (Dual) is $1250. March 1: $1450 La opción de poner una orden para una Scarlet-X/Epic-X(stage 4) es una inversión importante, pero el detalle de que solamente se deposita un 10% al momento de ordenarla por internet, y luego se hace el pago al momento de verificar el envío del equipo (posiblemente con unos 2 o 3 meses hasta la entrega, debido al volumen de ventas/entrega), hace que exista una ventana de tiempo hasta el pago final, haciendo más fácil la financiación de estos equipos. Red.com Aquí les pongo dos videos sobre la nueva Scarlet-X realizados por Sebastian Wober, administrador del sitio Cinema5D.

"We love the RED ONE.."

Today, 08:26 AM We love the RED ONE. The RED ONE MX just finished shooting "The Girl with the Dragon Tattoo"... along with so many others. We will probably not sell any more RED ONEs but will certainly continue to support it. Jim Hoy a las 08:26 AM Nosotros amamos la RED ONE. La RED ONE MX acaba de filmar "The Girl with the Dragon Tattoo"... a la par de muchas otras. Nosotros probablemente no vendamos más RED ONE's, pero ciertamente continuaremos brindándole soporte. Jim

Epic-X etapa 3 & 3.5

ETAPA 3 $ 28.000 con un máximo de $17.500 dólares de crédito para ser canjeado por la RED ONE. Las cámaras sólo serán elegibles si ya recibieron el invoice de RED o de haber completado el proceso oficial de transferencia de la propiedad de la cámara hasta el 29 de octubre 2009 INCLUYE: EPIC-X (cuerpo de cámara) Montura PL MÓDULO SSD 5 "LCD táctil REDMOTE MÓDULO ADAPTADOR Módulo de batería PRO 2x REDVOLTS CARGADOR DE VIAJE DSMC 1 año de garantía Garantía extendida: RED ARMOR es una extensión de 2 años del programa de garantía de su EPIC-X, que se puede comprar dentro de 1 año de la factura original. Aditamentos indispensables: ESTACIÓN REDMAG de 1,8 " REDMAG SSD Media - 64GB, 128GB, 256GB 1,8"

ETAPA 3.5 $27.500 con un máximo de $17.500 con potencial para ser canjeado en la RED ONE. Las cámaras sólo serán elegibles si ya recibieron el invoice de RED o de haber completado el proceso oficial de transferencia de la propiedad de la cámara después del 29 de octubre 2009 pero antes del 22 de mayo de 2010. incluye: EPIC-X (cuerpo de cámara) 1 año de garantía Garantía extendida: RED ARMOR es una extensión de 2 años del programa de garantía de su EPIC-X, que se puede comprar dentro de 1 año de la factura original. ADITAMENTOS INDISPENSABLES: Modulo SSD ESTACIÓN REDMAG de 1,8 " REDMAG 1.8" SSD. Media - 64GB, 128GB, 256GB Power: REDVOLT, adaptador de corriente AC o el paquete básico de poder Monitor: RED Touch 5.0 "LCD o EVF ® BOMB ( el BOMB EVF requiere empuñadura lateral dsmc o REDMOTE para navegar por el menú) Montura para lentes: Montura PL ò Canon EOS de titanio. Artículos recomendados: Empuñadura Lateral REDMOTE baterías REDVOLT CARGADOR DE VIAJE DSMC Si eres dueño de una RED ONE, debes iniciar sesión en el siguiente link para ver si eres elegible para una de estas etapas.