Trailer for Allied, in theaters on November 23rd. Shot in 6K on RED WEAPON DRAGON w/ Leica Summicron-C and Summilux-C prime lenses by cinematographer Don Burgess. Directed by Robert Zemeckis, Allied stars Brad Pitt and Marion Cotillard.
RED WEAPON HELIUM 8K S35 camera packages are available for immediate rental at 3GR Los Angeles. Shoot 8K at up to 75 frames per second. Rent RED WEAPON HELIUM 8K, request a rental quote now.
WEAPON now comes with the option of a HELIUM 8K S35 sensor. Capable of shooting motion and stills in 8K 2.4:1 at up to 75 frames per second (fps), or 8K Full Format at 60 fps—WEAPON 8K S35 delivers unrivaled performance.
SENSOR TYPE: HELIUM 35.4 Megapixel CMOS
PIXELS: 8192 × 4320
DYNAMIC RANGE: 16.5+ stops
60 fps at 8K Full Format (8192 × 4320), 75 fps at 8K 2.4:1 (8192 × 3456)
60 fps at 7K Full Format (7168 × 3780), 75 fps at 7K 2.4:1 (7168 × 3024)
75 fps at 6K Full Format (6144 × 3240), 100 fps at 6K 2.4:1 (6144 × 2592)
96 fps at 5K Full Format (5120 × 2700), 120 fps at 5K 2.4:1 (5120 × 2160)
120 fps at 4K Full Format (4096 × 2160), 150 fps at 4K 2.4:1 (4096 × 1728)
150 fps at 3K Full Format (3072 × 1620), 200 fps at 3K 2.4:1 (3072 × 1296)
240 fps at 2K Full Format (2048 × 1080), 300 fps at 2K 2.4:1 (2048 × 864)
REDCODE / COMPRESSION:
5:1 REDCODE for 8K Full Format (8192 × 4320) at 24 fps
12:1 REDCODE for 8K Full Format (8192 × 4320) at 60 fps
2:1 REDCODE for 4K Full Format (4096 × 2160) at 24 fps
3:1 REDCODE for 4K Full Format (4096 × 2160) at 60 fps
422 HQ, 422 and 422 LT at 4K (4096 × 2160) up to 29.97 fps
4444 XQ and 4444 at 2K (2048 × 1080) up to 120 fps
422 HQ, 422 and 422 LT at 2K (2048 × 1080) up to 120 fps
DNxHR HQX at 4K (4096 × 2160) 12-bit up to 29.97 fps
DNxHR HQ, SQ and LB at 4K (4096 × 2160) 8-bit up to 29.97 fps
DNxHR 444 at 2K (2048 × 1080) 12-bit up to 120 fps
DNxHD 444 and HQX (1920 × 1080) 10-bit up to 120 fps
DNxHD HQ, SQ and LB (1920 × 1080) 8-bit up to 120 fps
CONSTRUCTION: Carbon Fiber, Magnesium, and Aluminum Alloy
WEIGHT: 3.3 lbs (BRAIN with Integrated Media Bay)
RED WEAPON WOVEN CARBON FIBER 6K packages are now available for rental at 3GR.
RED WEAPON CF Tech Spec Highlights:
— Shoot 6K 2.4:1 at up to 100 Frames Per Second.
— RED DRAGON Sensor w/ 16.5+ Stops of Dynamic Range.
— 3.3 lbs Lightweight Carbon Fiber Body
— Record Apple ProRes or Avid DNxHR/HD simultaneously with REDRAW
— 3D LUT Support
Guardians of the Galaxy Vol. 2 released a surprise sneak peek last week. The anticipated sequel has the distinction of being the first feature film to shoot on RED’s 8K WEAPON. Director, James Gunn, has been a huge supporter and utilizer of RED cameras. You can read more on that here. But for now enjoy the trailer:
This next mixtape drops next year on May 5.
Much discussion surrounds tonight’s debate as a must-see-TV event. Up to 100 Million viewers are expected to tune in, an audience that would rival that of the Super Bowl.
When event television becomes national politics, I start to wonder about those unsung heroes making it all happen. That’s right, I’m talking about the event production crew.
Since the famed Nixon-Kennedy showdown, the effect of a candidate’s on-camera performance has played a significant and contentious role in national politics.
Every news outlet is talking about this topic today, but I was wondering… how do they light these things? It must be quite a challenge to shoot so many simultaneous angles, live, in a huge (HUGE!) space, and make everyone look human – much less glamorous or presidential.
TV trade site NewscastStudio put together a neat article about many of the technical and aesthetic considerations that come into play for such an important event.
“The distance between the talent and their light in a studio can be as little as ten feet, but in a large theatre or arena it could be a hundred feet,” says Lesli Tilly, who often works with Size on LDG’s large projects.
“Large, soft light sources from close up are extremely flattering for faces, but that’s impossible when the light source is 40, 50, or well over 100 feet from the talent’s face,” continues Size. “Soft source are uncontrollable, so we use point sources tailored specifically for their target — often with merely a beam spread of 3 feet by 3 feet!”
“One of the biggest challenges — and also for me one of the joys — is that like doing live theater, you have one chance. You rehearse, you prepare for everything, and still, there’s no guarantee that it’s all going to go according to plan,” said [gaffer] Tilly.
If that whet your appetite, the full article is certainly worth a read.
Also fun to peep while you’re at it:
a run-down on the updates to this new debate stage, an explanation of why they hold debates in empty arenas, and a clip of Colbert making fun of CNN’s VR Experience of one of the primary debates earlier this year.
That experiment turned out to be more of a teaser for a much more visually exciting application in SPORTS, but that’s another post for another day.
Watching the debate tonight? You have plenty of options this time around. Facebook Live will stream the event, a handful of Youtube channels will show it as well, even Twitter has you covered. I guess it’ll probably be on TV or something too if you’re into that kind of thing.
Now that we’re all up to speed on the important elements of the event (what finesse in that lighting, the smooth integration of the camera box into the rear wall of the set!) we’d love to hear your thoughts and questions relating to the production itself.
One big difference between this to-do and the Super Bowl? No commercials. At least, not yet…
If you caught the Emmys last night, you saw our man Rami Malek win Best Actor in a Dramatic Series for Mr. Robot. Check out our post about the cinematography choices based on his handsome mug. The award for Best Actress in a Dramatic Series went to Orphan Black’s Tatiana Masalany. The LA Times thinks we didn’t have them in […]
With the Emmys coming up this week, it’s high time to binge-watch those series you’ve been meaning to watch all year. If you haven’t caught Mr. Robot yet, it should definitely make your short list. Shot on RED EPIC DRAGON with Cooke S5/i and Leica Summicron-C primes, the show tackles the challenging story subject of hacking, computers, and all […]
Just a reminder that Michael Bay is running around with a lime green custom RED camera that matches his ear protection. Let’s hope he hit that record button. RED Camera named it “BAYHEM” They created the lightest, most advanced hand held motion picture camera in the world. I put it through the paces on Transformers in […]
Shot on RED EPIC DRAGON + Leica Summilux-C glass by DP’s Will Basanta and Matthew David Chavez.
The newly released, redesigned DSMC2 OLPFs for RED WEAPON DRAGON are now available for rental at 3GR. A redesigned, one-screw system allows for easy OLPF swapping in the field. The RED WEAPON automatically recognizes and adapts to the specific attributes of each OLPF. DSMC2 OLPF’s are now available for rental with RED WEAPON DRAGON. The DSMC2™ Standard OLPF (optical low-pass filter) […]
Directed by Baz Luhrmann and shot by cinematographer William Rexer on RED EPIC DRAGON, The Get Down is now streaming on Netflix. Rent RED WEAPON DRAGON now “The Get Down is a mythic saga of how New York at the brink of bankruptcy gave birth to a new art form. Set in New York in […]
Stranger Things, an 8-part original series, is now streaming on Netflix. Shot on RED EPIC DRAGON and Leica Primes by cinematographers Tim Ives and Tod Campbell, both of Mr. Robot fame.
Cinematographer Shane Hurlbut, ASC shared his thoughts on RED WEAPON and resolutions higher than 4K. From RedShark: On Resolution: The quality of these digital sensors provide much more than a technical advantage, but an artistic advantage as well. From a technical side, sure, we can “future proof” the quality by mastering in 4K UHD and […]
Our first shipment of RED MINI-MAG 512GB and RED MINI-MAG 1TB arrived today. Available to rent immediately. From RED: The RED MINI-MAG® is the smallest, fastest, and most powerful media option available. Compared to their predecessor, the REDMAG® 1.8”, RED MINI-MAGs have faster read/write speeds to support higher frame rates and resolutions with minimal compression. RED MINI–MAG data transfer speeds are up to […]
Chef’s Table – Season 2 The James Beard Award-winning Netflix original is back for round two, traveling the world to meet more of the world’s most captivating chefs and tell their stories. The series is shot by DPs Will Basanta and our very own Featured Filmmaker, Adam Bricker, using our Red Epic Dragon cameras with Leica […]