NEWS
Seeing RED
We recently filmed a Spar UK campaign on the RED Camera System.
Keep an eye out for the campaign from July, but here’s what we think of the RED in the meantime…
‘Red's creation threatens to make 35-mm movie film obsolete.' - Wired, Technology Magazine.
'This is the camera I've been waiting for my whole career: jaw-dropping imagery recorded onboard a camera light enough to hold with one hand.
- Stephen Soderbergh, Filmmaker.
Production:
From a producer’s point of view this is a joy. Excellent picture quality akin to 35mm but with the flexibility and cost effectiveness of a digital process on set.
It worked beautifully with the DS Nitris workflow at the Picture House.
Resolution / Image Quality: The Red shoots at 4k, four times the working resolution of a traditional feature film and sixteen times that of SD Television (eg Digibeta)! This results in images of pristine quality with no perceptible grain.
Frame rate: Red shoots at frame rates from 1fps to 120fps making slow-motion shots as easy as on film, but without the increase in stock costs.
Post Production:
DS Nitris is one of the few suites that can deal natively with the files that the Red captures. DS loads the raw camera files at full 4k resolution without having to downconvert them to SD or HD. Just like in a traditional telecine, the full range of image data captured is available while grading in DS. All of the controls the DOP used to shoot the files can be accessed and tweaked within DS. The particular look the DOP created on location can be retained or a completely different look can be created from scratch in DS all while monitoring the look of the piece on our 2k grading monitor.
These factors, in addition to DS's already powerful grading and compositing tools, offer a production the ultimate creative flexibility in finishing and special effects creation.
Grading: The 4k files that Red shoots are way bigger than SD or HD. Their dimensions are 4096x2048 at a bit-depth of RGB 4:4:4. This is 4 times the size of the files used in 90% of feature film post-production. This size and colour resolution means that not only do the raw images look stunning but they allow tasks like grading and compositing to be performed with greater precession and flexibility than other formats.
Keep an eye out for the campaign from July, but here’s what we think of the RED in the meantime…
‘Red's creation threatens to make 35-mm movie film obsolete.' - Wired, Technology Magazine.
'This is the camera I've been waiting for my whole career: jaw-dropping imagery recorded onboard a camera light enough to hold with one hand.
- Stephen Soderbergh, Filmmaker.
Production:
From a producer’s point of view this is a joy. Excellent picture quality akin to 35mm but with the flexibility and cost effectiveness of a digital process on set.
It worked beautifully with the DS Nitris workflow at the Picture House.
Resolution / Image Quality: The Red shoots at 4k, four times the working resolution of a traditional feature film and sixteen times that of SD Television (eg Digibeta)! This results in images of pristine quality with no perceptible grain.
Frame rate: Red shoots at frame rates from 1fps to 120fps making slow-motion shots as easy as on film, but without the increase in stock costs.
Post Production:
DS Nitris is one of the few suites that can deal natively with the files that the Red captures. DS loads the raw camera files at full 4k resolution without having to downconvert them to SD or HD. Just like in a traditional telecine, the full range of image data captured is available while grading in DS. All of the controls the DOP used to shoot the files can be accessed and tweaked within DS. The particular look the DOP created on location can be retained or a completely different look can be created from scratch in DS all while monitoring the look of the piece on our 2k grading monitor.
These factors, in addition to DS's already powerful grading and compositing tools, offer a production the ultimate creative flexibility in finishing and special effects creation.
Grading: The 4k files that Red shoots are way bigger than SD or HD. Their dimensions are 4096x2048 at a bit-depth of RGB 4:4:4. This is 4 times the size of the files used in 90% of feature film post-production. This size and colour resolution means that not only do the raw images look stunning but they allow tasks like grading and compositing to be performed with greater precession and flexibility than other formats.
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contact details
429 Holywood Road
Belfast
028 9076 9800
Belfast
028 9076 9800