At Video Resources we are all about finding the right solutions for each project. Though we love the RED images and workflow, sometimes other cameras such as a DSLR fit the bill or compliment our RED footage. DSLR is simply shorthand for Digital Single Lens Reflex Camera. More relevant is the video component of these DSLR cameras, which confuses the situation and the naming scheme as you will also see references to HDSLR or VSLR.
Today the most popular cameras in this arena are the Canon 5D, 7D, and the new, reasonably priced 550D/Rebel T2i, the Nikon D90, and Panasonic Lumix DMC-GH1. We own Canon 5D and 7D camera systems with various lenses and accessories and find that they suit our needs very well. I will plan a special report on how we use these cameras in our productions, but in summary we use them as primary cameras, but mostly for B-camera and background plate work. Continue reading »
It seems like all of Hollywood is abuzz about the new Mysterium X sensor from RED. The good news is that the Epic will feature this new improved sensor when they ship. However, what if you already have a RED ONE camera, what then? Well the REALLY good news is that RED is offering an upgrade path to the Mysterium X. But is it worth the cost for most of RED ONE owners? Well we at Video Resources have decided to see for ourselves and share the results.
The testing will be relatively simple. Since we own two RED cameras that are nearly identical – serial numbers 15 and 16, we decided to upgrade one camera at a time so we could more easily compare the images. Since #15 was older (but just by a few minutes) she went in for the upgrade last week.
We expect our upgraded camera back any day now so please feel free to submit your recommendations for shooting environments and scenes that you feel would best represent the real world situations. Using the comments posting feature of our blog (see above), post your requests and we will do our best to accommodate them. Continue reading »
When Western Digital wanted to introduce their convenient “Studio Edition II” drives to the video community they choose to feature a RED ONE Camera. Well, not just any RED camera but our very own Ripley, also known as Serial No. 15. Holding our super handsome camera is our beloved Jeff Killian, shooter and editor extraordinaire. I guess everyone deserves their 15 minutes.
The Red camera technology and REDCODE raw have put the power of traditional cinematography in our hands. As you have seen, the depth of field control and image quality is as good as anything we have worked with in our career. The images below demonstrate the literal flexibility of the raw image format that the Red One camera creates.
Let me explain. A high resolution frame from a sequence shot the first week we had our camera (August 2007!) has been made available to the RED user community. Various users downloaded the image and subsequently posted various efforts at color correction and image looks.
Our gallery of images shows the power of the R3D image format. Like RAW images that are now common with many still cameras, the Red native image format allows for broad color and gamma correction after the image is recorded by the camera.
This is a JPEG of the original file:
Reference image in JPEG format of the non-corrected image
To see how others have interpreted and manipulated the image visit our interactive gallery. To try your hand at color correcting this file download the TIF original file (41MB) here. Please post your comments about the experience and upload directly to our webgallery. To receive credit on any images you post, include your reduser names as a title for each image. If anyone wants their image removed please send a request my way.
Update: Read more about the power of the RED image format in this post by Oliver Peters
Authors note: At the time of the original post, software to read the R3D files was not readily available so I made a TIF file available to allow others to try their hand at color correction. If there is enough interest, I can upload an R3D version of the clip.
