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Revision as of 06:20, 14 August 2007
| Company type | Private |
|---|---|
| Industry | Digital cinematography |
| Headquarters |  Lake Forest, California, USA |
| Key people | Jim Jannard |
| Products | Red One Red Cine |
| Parent | Nikon  |
| Website | www.red.com |
Red Digital Cinema Camera Company is the developer of a digital video camera called the Red One. The company claims that when the camera is released, it will be capable of recording resolutions up to 4520 x 2540 using a Super 35-sized CMOS sensor. The Red One will have a competitive price point which may allow comparatively low-budget productions to produce high-resolution digital cinematography. The Red Digital Cinema Camera Company was founded by Jim Jannard, founder of the Oakley company.
Technical Specifications
Sensor
The sensor will have a 12 Megapixel CMOS (brand name: Mysterium) that is 24.4mm x 13.7mm, with 4520x2540 active pixels, 4900x2580 full pixels, and a 66dB dynamic range. The Mysterium sensor has the same active area as a Super 35 film frame (masked to a 16:9 aspect ratio), allowing the same shallow depth of field to be produced in conjunction with lenses designed to cover the 35mm format.
The camera also allows the sensor to be used in a 'windowed' mode, in which the sensor can emulate the active area of a Super 16 film frame while capturing 2K footage. This allows the camera to be used with lenses designed to cover the super 16 format. Mysterium is the company's proprietary sensor design.
Recording formats
The recording formats include 2540p("4K+"), 4K, 2K, 1080p,1080i, and 720p.
| Frame Rate | Supported Resolution |
|---|---|
| 1 – 60 fps | 2540p, 4K, 2K,1080p, 720p |
| 1 – 120 fps | 2K, 720p (windowed sensor) |
| 50 / 59.94fps | 1080i, 720p |
Red does not natively capture standard definition formats. However, its higher definition formats can be scaled down in post production, and should yield extremely high-quality standard definition output. The sensor does not record 1080i natively. However, the camera can record 1080p60, from which 1080i can be extracted in-camera.
Compression & Workflow
The Redcode RAW codec will allow 4K sensor data to be recorded at 24 frames per second with a data rate of around 27.5 MB/s (220 megabits per second). This data rate is low enough that on-camera recording (for example, to a Red-Drive digital magazine containing two 2.5" hard drives) will be possible. Redcode only functions at up to 30 frames per second at 4K. To achieve higher frame rates at 4K or to record 2540p, uncompressed video must be recorded to an external RAID.
Redcode is a wavelet codec, like JPEG2000, so many of the blocking artifacts associated with digital video compression should be absent. Red has claimed Redcode RAW is visually lossless. Because Redcode RAW will be recording RAW bayer sensor data, the footage may not be usable on desktop editing systems without additional processing, though Red has commented that playback should be possible in any QuickTime application. Red has announced an application called Redcine, which can convert Redcode RAW footage to other formats. The camera can also record using an RGB (non-RAW) version of Redcode at 1080p or 720p.
Audio
The Red One will be able to shoot sync sound with 4 channels of uncompressed audio at 16/24 bit 48KHz. Inputs are line/mic level switchable with 48V phantom power available.
Weight, Dimensions & Body Design
The Red One camera body is expected to weigh about nine pounds. Dimensions are 12" long x 6.3" tall x 5.2" wide. The camera is based around a modular design concept. It has many mounting points, and accessories like recording devices, viewfinders, etc. are mounted to the camera, rather than being integral parts of the body.
Footage
Red previewed footage from their 4K Mysterium sensor at the International Broadcasting Convention. The footage was shown on a Sony SRX-R110 4K projector; at the time, the only 4K projector model on the market. Mike Curtis from the HD for Indies site stated that the footage looked extremely clean, with impressive dynamic range, and good rendering of skin tones and highlights .
Stills up to 4K can be found here, and video clips up to 1080p can be found here. This is footage from a prototype camera, and has not undergone much of the processing that digital camera footage usually undergoes before viewing, such as dead pixel correction, so it may not be representative of the full quality the final product will be capable of.
Exposure latitude
Red has rated the Mysterium sensor's signal-to-noise ratio at 66dB. Preliminary internal testing at Red suggests 11 1/3 stops of exposure latitude. This should not be considered a final number.
Accessories
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Red has announced several accessories for the camera. Pricing and expected delivery dates are unknown, except as noted.
- Red-Rail: A configurable rail system allowing for shoulder-mounted use. The digital magazine and/or battery are placed at the back of the rails, behind the shoulder, and the length of the rails can be adjusted to counterbalance the camera and lens as needed.
- Red-Cage: A cage for the camera with many mounting points, allowing the camera to be used for crane or studio work, or in conjunction with a large number of accessories. The cage has both a right and a left half, which can be attached independently, and can be used in conjunction with the Red-Rail system.
- Red-Gun: A device for mounting the camera around one's arm, resembling a gun. Pictures of the Red-Gun are not currently posted on Red's web site, as it is undergoing a major redesign.
- RedFlash: A flash memory based "digital magazine" for the Red One. Available in sizes ranging from 32GB to 128GB.
- Red-Drive: A disk-based "digital magazine", using two 2.5" hard drives in a "mini-RAID". Red has mentioned a 320 GB (2 x 160 GB) version and a price under $1000.
- Monitor: A 720p camera-mountable monitor. Expected to be included with the Red One base package for reservation holders. Whether the display will use LCD, OLED or some other technology is unknown.
- Electronic Viewfinder: A 720p color EVF. The Red One will not have an optical viewfinder, but this is possible on future camera models .
Lens Mounts and Lenses
The Red One camera will ship with a PL lens mount, a common mount for modern 35mm and 16mm motion picture cameras. The company also has plans to release adapters for Canon FD and Nikon F-mount lenses, and for 2/3" B4 lenses. Pricing and availability are currently unknown, but the Canon and Nikon mounts are expected to be available before the 2/3" B4 mount. At least one company has announced other lens mount options such as Canon EOS EF in cooperation with RED, and other third party solutions may become available.
Red has announced several Red-branded PL-mount lenses: a Red 300mm f2.8 Telephoto with a 300mm PL-mount lens designed to cover the s35mm format, which is expected early in 2007; a Red 18-50mm f2.8 Close Focus zoom in PL-mount designed to cover s35mm, which is expected in Summer 2007; and a set of Red prime lenses (sold only as a set, not individually), comprising of 15mm f2.8, 25mm f1.9, 35mm f1.9, 50mm f1.9, and 85mm f1.9 in PL mount expected late in 2007. A Red 18-85mm f2.8 zoom was announced but has reportedly been delayed- reservation holders may elect to wait or can switch their reservations to the less expensive 18-50mm f2.8 CF lens.
Reservation Program
Through October 31, 2006, Red ran a reservation for the Red One camera ($1000 deposit required, $17,500 purchase price, including a camera-mountable monitor), a 18-85mm zoom lens ($750 deposit required, $9500 purchase price) and a 300mm telephoto lens ($500 deposit required, $4995 purchase price). Deposits were refundable. The first 1080 Reservation holders received a machined titanium 'R' with their serial number engraved on it.
Initial reservations were closed on October 31, 2006. Over 1000 Red One cameras had been reserved at that time. Red's explanation for closing the reservation program is that it had existed primarily to gauge demand, and had fulfilled that purpose.
Red subsequently announced that reservations would re-open from January 21 until midnight January 24, 2007, "ue to popular demand." In that same announcement, Jim Jannard stated that "he next time orders will be taken will be at NAB." .
September 2006 theft
On September 24, 2006, the Red offices in Lake Forest, California were broken into by unknown persons. No sensors or sensor information were stolen . Some of the stolen items, including a prototype camera shell, have since been recovered, and some items such as computers containing in-detail information on the Red One have not been recovered as of yet. Red has not revealed the circumstances of the recovery, due to the existence of an ongoing investigation. Red has offered a $100,000 reward for any information leading to the apprehension of the person or persons responsible .
NAB 2007 Appearance & Peter Jackson's Short
At the NAB 2007 show in Las Vegas, Nevada, three working Red One cameras were on display as well as two screenings of a recent short directed by Peter Jackson using two "alpha" versions of the Red camera - nicknamed Boris and Natasha. The alpha versions had nothing but a record/stop button and shot at 4K/24 fps and a 180 degree shutter. All other features were disabled. Initially expecting a standard camera test, when Jim Jannard, Jarred Land and Deanan Dasilva from Red showed up in NZ they were surprised to learn that Peter Jackson intended to shoot a ten minute short set in World War I featuring battles in trenches and in the air. The film was used to showcase the results of the Red One camera in action rather than in controlled test environments (although Jackson opted to skip using the Red lenses in favor of the Angenieux Zoom and Cooke S4 lenses with which he was more familiar . Amazingly, the film was shot in 2 days.
Despite being feature incomplete, the team showcasing assured booth visitors the cameras would start shipping by the end of the month.
At the NAB 07, it was announced that Redcode RAW data generated by the camera can be converted using propriety software called Red Cine into a range of formats, including DPX. Redcode RAW will also be supported in Final Cut Pro 6. A new set of prime Red lenses was released which includes f2.8 15mm, f1.9 25mm, f1.9 35mm, f1.9 50mm and f1.9 85mm lenses for US$19,975 as well as a new 18mm-50mm (f2.8) zoom for $6,500. The previously announced 18-80mm zoom has been slightly delayed .
Also at the NAB 07, during the Final Cut Pro User Group Supermeet the Red team appeared on stage. Although they were scheduled to show footage from the camera, they declined, citing copyright concerns. They also used the venue to announce that they would be developing a "Professional Pocket Cam" and their own 4k projector, but refused to give any more details.
Filmography
According to Red's official website, director Steven Soderbergh is going to shoot his two upcoming features Guerrilla and The Argentine with the Red camera. Soderbergh is very enthusiastic about the camera, saying that "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. I don't know how Jim and the Red team did it--and they won't tell me--but I know this: Red is going to change everything".
Competitors
Red has many competitors, some having resolution of only 1080p. Resolution aside, the competitors have very similar features and some are already in wide use by the film industry.
- Arriflex D-20 (35mm sensor size, 1080p output)
- Genesis (Panavision) (35mm, 1080p)
- Dalsa Origin (35mm, 4K)
- GS Vitec noX (1.2", 2K)
- Thomson Viper FilmStream (2/3", 1080p)
- Vision Research Phantom65 (65mm, 4K)
- Vision Research PhantomHD (35mm, 2K)
In development
- Colorspace True35 (35mm, 2K)
- Silicon Imaging SI-1920HDVR (2/3", 1080p)
- Sony F23 (2/3", 1080p)
- Kinetta Camera (2/3", 1080p)
- Drake camera (2/3", 720p)
WikiBooks
- Red Camera on the Movie Making Manual