We first saw the RED One at the NAB show in 2007 when it was just a carved black painted balsa wood dream in a glass case in a never heard of before upstart camera company. Sensing something game changing was in the air, we plunked down a 1K deposit and began waiting. In winter of 2008 we took delivery of our Red One and this winter we took delivery of the last camera we hope to ever own . . . The RED Epic X.
By now the specs are well known, 5K resolution, more than 5 times the resolution of standard HD, HDR on demand in a video camera, the ability to shoot up to 300fps, 12 plus stops of dynamic range, used on feature film after feature film, Social Network, Pirates of the Caribbean, Prometheus, Winter’s Bone, chosen by directors, Ridley Scott, Peter Jackson and Rob Marshall. Stills from the camera have graced the covers of Vogue, GQ, Interview and Vanity Fair. That’s stills pulled from a video camera.
We’ve ridden the RED train from the beginning and we’re thankful to Jim Jannard and the RED team for building the camera of our dreams. From a post perspective, we’ve been handling R3D files both as DIT’s on features to final delivery of downsampled 2K masters. Here are a few frames of RED footage from a shoot this spring.
All lenses are Nikon mount modded with gear rings and 80mm fronts
Zeiss ZF Set
(4) RedVolts and (2) Travel Chargers
(2) Red Bricks
(4) IDX V-Mounts and Charger
RED Pro Battery Module
Mattebox: RED Pro Mattebox, Clip on 4×4.5
Petroff 4×4 mounts on 15mm rods
.3 and .6 ND’s
Miller 1505 3 stage Carbon Fiber Sticks
Miller Carbon Fiber 1576 with spreader
Miller Arrow 30
Monopod w/ Benro B2 Head
Cinevate Atlas 20 Slider