New Gear: RED WEAPON DSMC2 OLPF

RED-OLPF-DSMC2-WEAPON-2 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) offers the perfect balance of light gathering and protective qualities for most shooting environments. With optimal colorimetry, IR protection, and optical glare reduction in a wide variety of lighting conditions—the DSMC2 Standard OLPF is the ideal solution when your shooting schedule demands that you’re always ready to capture the perfect shot. The DSMC2™ Skin Tone-Highlight OLPF (optical low-pass filter) captures and preserves color quality in highlights, bright colors, and well-lit environments. The DSMC2™ Low Light Optimized OLPF (optical low-pass filter) provides excellent color and tone reproduction in dim to dark environments. Use this OLPF to capture and preserve color quality in mid-tones, darks, and shadows.

DP Shane Hurlbut, ASC interview w/ RedShark

Hurlbut Wide 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 releasing in 1080p today only to re-release our films in 4K UHD years later without having to scale the resolution where we lose quality over the image.  I point out the artistic advantage because I'm able to light scenes with less light, using more natural sources if I need to, but at the same time, with the RED Weapon, I am able to light as if I am shooting film.  There are very similar ratios to my lighting style and being able to bring that to life allows me to paint the picture in more ways than every before. Most of the time, I'm shooting in 5K to stay within the Super 35 sensor, which is what is most common these days.  Having the ability to go to 6K if we need to quickly get a little wider or if we want to stabilize in post-production has become a huge advantage.  In some projects, we're starting to bring in a lot more VFX, so having the added resolution makes a big difference with our VFX team, giving them a larger canvas to work with. On RED: The color space is what I love.  The RED sensor has such a soft and beautiful feel.  The skin tones are just incredible. RED really knocked it out of the park with this camera.  My images come alive, bringing the characters to life. It lets me feel like the camera is a character, which I feel was missing for a long time in the digital world.
Read the entire interview here on RedShark.

Guardians of the Galaxy Vol. 2 to shoot on RED 8K WEAPON

Red and Marvel Studio announced today that the second installment of the successful Guardians of the Galaxy franchise will be the first feature film shot on the new 8K Vista Vision WEAPON.

From RED's Press Release:

" WEAPON 8K captures 8K at 75 frames per second (fps), 6K at 100 fps, or 4K at 150 fps with REDCODE® RAW; and its wide dynamic range produces cinema-quality images rich with natural color. Additionally, WEAPON 8K features interchangeable lens mounts, an intelligent OLPF system, and in-camera 3D-LUT outputs. 'RED’s 8K WEAPON is the little big camera. Perfectly counterintuitive. And perfect for Guardians of the Galaxy Vol.2,' says Henry Braham, BSC, Director of Photography. "  

8K Weapon, 4K on Screen:

Though theaters "only" have the ability to project in 4K, the 8K sensor allows for more finesse in post before outputting to exhibition resolution. RED and Braham haven't yet announced if the whole film will utilize the WEAPON's 8K capabilities, or if they'll only bring out the big guns for a few key scenes. The first Guardians of the Galaxy film featured a few IMAX scenes, and over an hour of IMAX footage made it into Interstellar - (on film, of course. Because Nolan...) He's generally been the director "most likely to..." really do it up on the IMAX, but as these new digital mega-sensors come into play, it should be interesting to compare looks. However, the next two movies in the Avengers franchise are slated to shoot entirely on digital IMAX cameras. Can't wait to see how that turns out. And a significant portion of The Revenant was shot on 6K Alexa 65, and RAW, upping the ante for ridiculously indulgent detail in the data. We'll see what the GALAXY team will do here. No Film School posted a great writeup about 8K technology and the benefits of shooting 8K -> 4K if you wanna get into it. Let us know if you've heard any other rumors or have some tech nerdery to add to the conversation in the comments below.

Shot on RED WEAPON: a dragon on fire.

For your entertainment on this fine Saturday: a Red DRAGON on fire at 72fps in 6K
Aside from being generally awesome, the video shows the durability of a newly developed rehoused Canon 24mm F/2.8. The lens comes with your choice of aluminum or titanium back, and happens to be bulletproof - and, as it turns out, flame retardant! You know, for the next time you're shooting in a war zone and/or volcano.* 11053213_10153288922700415_2868151419895703975_o This rugged bad boy is a creation of Global Dynamics United, RED President Jarred Land's side project for making bulletproof lenses and these (strangely NSFW) shirts and hats? They're available to reserve here.lauten-lens1-600x600 (1) Additionally - if you'd like to flaunt one of these (purportedly very soft) shirts for pretty ladies, I'm pretty sure they're on Amazon Prime too.
 
* Please DO NOT use 3GR's cameras in war zones and/or volcanoes. Or really in any situation that carries a high risk of being shot at/lit on fire in general.
dragon on fire

Shot on WEAPON DRAGON: Taylor Swift’s “Wildest Dreams”

  Without getting too carried away... here's another Chris Probst / Peter Khan "Film" shot on Weapon. The drama. The giraffes. The zebra herd from above. The male love interest lip syncing to  Swift's plaintive crooning. The colonialist-era hollywood glamour (um...?) The romantic flight above the stampede. The glitter and pain of the meta-film premiere. But most impressively: the LION. THE LION YOU GUYS. DON'T MISS THE LION.   https://40.media.tumblr.com/e031d39315051ec87b9c136abff01ca2/tumblr_inline_ntxyfjX0iG1r3sgat_540.jpg https://media4.giphy.com/media/k3zHS66ELW4dG/200.gif https://media1.giphy.com/media/POmfXNgLKGoCY/200.gif   There are indeed some pretty stunning shots of Saharan plains, waterfalls, and sunsets - all of which the weapon captures with a dynamic range that is legit cray. I have to hand it to these guys - they made midday-ish full sun look quite pretty.   http://cdnph.upi.com/sv/b/i/UPI-5821441213567/2015/1/14412265956873/Taylor-Swifts-Wildest-Dreams-video-criticized-for-colonial-Africa-setting.jpg   https://media2.giphy.com/media/G2VtNC8rv9pm0/200.gif http://cosmouk.cdnds.net/15/36/1441000478-taylor-swift-wild-yellow-dress-gif.gif   My personal favorite images include high speed footage of Tay's dress being blown by the wind (machine), some of the light-play on and through clouds and bodies of water, and any shot that includes Swift with animals - especially this lion. The lion is the star of the video, I'm sorry. In this shot he's even lip syncing along too.   http://media.giphy.com/media/oWvioXnWLmzC0/giphy.gif   Ok, maybe just roaring, but there's really no way to tell for sure, now is there.   https://media2.giphy.com/media/IypXCCKIuS62Y/200.gif