Red cinema cameras
10:24:00
The path Red took was slightly different. Digital movie cameras were already on the market when the Red team began their work. But the image quality of early digital cameras was nowhere near what was required for a feature movie. Quality was improving but Mr.Jannard (Founder of Red digital cinema camera) wanted his first model to surpass all current digital cameras and exceed the strictest performance specs, even for film.
That required several years of engineering, mostly related to the semiconductor chip that is the heart of any digital camera and converts photons into electrons.
The Red team came up with a chip that was the same physical size as a frame of 35mm film, the Hollywood standard and produced an image that was virtually indistinguishable.
The dream that began on 2005 became a reality in 2007. The first Red model was introduced in 2007 and immediately attracted the attention of filmmakers like Peter Jackson and Steven Soderbergh.
Buying a camera for a film’s production is very rare as the cinema cameras are very expensive. But, Red Camera was prized reasonably. Therefore, it created the habit of buying a Red Camera for a film production.
The Red One camera is a 4K digital cinema camera. It is initially aimed at Cinema style shooting, meaning that it is in many ways like a traditional film camera. It uses traditional film lenses and other film hardware including Matte boxes and follow focus systems. But instead of shooting in film it shoots digitally.
It shoots at a resolution several times higher than high definition, making it more suitable for theatrical release. It is larger sensor and ability to use film lenses gives the image a more traditional cinematic look than most HD as well.
It is a software driven camera. It takes over a minute to boot up, and has some very computer like tendencies, but it is also very flexible. The camera is evolving, and getting better all the time. All the updates are free, and new features are coming out monthly. Since the camera introduced they added a 3K mode at 60 frames per second, 2K at 120 frames per second and new assisted ways to accurately focus by eye, just to name a few updates.
It shoots at a resolution several times higher than high definition, making it more suitable for theatrical release. It is larger sensor and ability to use film lenses gives the image a more traditional cinematic look than most HD as well.
It is a software driven camera. It takes over a minute to boot up, and has some very computer like tendencies, but it is also very flexible. The camera is evolving, and getting better all the time. All the updates are free, and new features are coming out monthly. Since the camera introduced they added a 3K mode at 60 frames per second, 2K at 120 frames per second and new assisted ways to accurately focus by eye, just to name a few updates.
Red then introduced camera models mx, epic and scarlet where epic had 5k sensor and Scarlet 4k sensor.
Now Red cinema cameras started to introduce many camera models in the series DSMC 2 where DSMC stands for Digital still and movie camera.
Earlier models:
EPIC DRAGON
SCARLET DRAGON
EPIC MYSTERIUM-X
SCARLET MYSTERIUM-X
RED ONE
Details about new cameras by Red
WEAPON 6K | CARBON FIBER
Made from ultra-lightweight carbon fiber, WEAPON is engineered from the ground up to deliver cutting-edge performance in the most intuitive camera experience possible. In addition, WEAPON 6K Carbon Fiber owners have the opportunity to upgrade to an 8K sensor when available.
- RED DRAGON 19.4 MP CMOS
- REDCODE RAW at 6K Full Frame up to 75 fps
- Data transfer rates up to 300 MB/s
- Apple ProRes at 4K up to 30 fps
- Supports interchangeable lens mounts and OLPFs
- Apple ProRes at 2K up to 120 fps
- MG PL Mount and DSMC2 Sidekick included
- Avid DNxHR at 4K up to 30 fps
- Standard OLPF included
- Avid DNxHD up to 120 fps
WEAPON 6K | MAGNESIUM
Like WEAPON 6K Carbon Fiber, WEAPON 6K Magnesium offers high-end performance and resolution in a lightweight, element-resistant form factor.
- RED DRAGON 19.4 MP CMOS
- REDCODE RAW at 6K Full Frame up to 75 fps
- Data transfer rates up to 225 MB/s
- Apple ProRes at 2K up to 60 fps
- Supports interchangeable lens mounts and OLPFs
- Avid DNxHR at 2K up to 60 fps
- Standard OLPF included
- Avid DNxHD up to 60 fps
SCARLET-W 5K
SCARLET-W brings an unparalleled level of accessibility to content creators everywhere.
- RED DRAGON 13.8 MP CMOS
- REDCODE RAW at 5K Full Frame up to 50 fps
- Data transfer rates up to 140 MB/s
- Apple ProRes at 2K up to 60 fps
- Supports interchangeable lens mounts and OLPFs
- Avid DNxHD at up to 60 fps
- Standard OLPF included
RAVEN 4.5K
RAVEN is ideal for drone and gimbal configurations or hand-held operation.
- RED DRAGON 9.9 MP CMOS
- REDCODE RAW at 4.5K Full Frame up to 120 fps
- Data transfer rates up to 140 MB/s
- Apple ProRes at 2K up to 60 fps
- Integrated Canon EF Mount and OLPF
- Avid DNxHD at up to 60 ps
RED WEAPON 8K S 35
- HELIUM 35.4 Megapixel CMOS
- 8K 2.4:1 resolution up to 75 fps
- 16.5+ stops of dynamic range
- 300 MB/s data speeds
- REDCODE RAW + Apple ProRes or Avid DNxHR/HD
RED EPIC-W 8K S35
- HELIUM 35.4 Megapixel CMOS
- 8K 2.4:1 resolution up to 30 fps
- 16.5+ stops of dynamic range
- 275 MB/s data speeds
- REDCODE RAW + Apple ProRes or Avid DNxHR/HD
WEAPON 8K VV (Vista Vision Format)
- RED DRAGON 35.4 Megapixel CMOS
- EFFECTIVE PIXELS 8192 x 4320
- SENSOR SIZE 40.96 mm x 21.60 mm (Diagonal: 46.31 mm)
- DYNAMIC RANGE 16.5+ stops
RECORDING
- MAX DATA RATES Up to 300 MB/s using RED MINI-MAG (512GB & 1TB)
Up to 225 MB/s using RED MINI-MAG (120GB & 240GB)
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Red has unique advantage offering cameras with different lens mount like PL,EF,Nikon mounts. Also customizes cameras according to film makers demand. Recent example is, camera module altered for Director Michael Bay’s new film ‘Transformers - Last Knight” according to the film makers need.
CJ Rajkumar
Author/Cinematographer.
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