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72-637: Red Digital Cinema, LLC is an American camera manufacturer specializing in digital cinematography headquartered in Foothill Ranch, California , United States. It has been owned by Nikon since April 2024. The company has studios in Hollywood, Los Angeles and has offices in London , Shanghai , and Singapore as well as retail stores in Hollywood , New York City , and Miami . In addition it has various authorized resellers and service centers around

144-493: A VistaVision 8K sensor (40.96   mm x 21.60   mm) with the ability to crop to smaller formats like Super35. It is capable of recording full sensor 8K at 120   FPS (or 150   FPS cropped to 2.4:1), and high frame rates of up to 600   FPS in 2K. With an advertised dynamic range of 17 stops. It was launched with a price tag of $ 24,500 (body only). Red would later release the V-Raptor XL in 2022, featuring

216-434: A deck . Upon ingestion, a digital video stream from tape is converted to computer files. These files can be edited directly or converted to an intermediate format for editing. Then video is output in its final format, possibly to a film recorder for theatrical exhibition, or back to video tape for broadcast use. Original video tapes are kept as an archival medium. The files generated by the non-linear editing application contain

288-551: A feature film . The term is seldom applied when digital acquisition is substituted for video acquisition, as with live broadcast television programs. Professional cameras include the Sony CineAlta (F) Series, Blackmagic Cinema Camera , Red One, Arriflex D-20 , D-21 and Alexa , Panavision Genesis , Silicon Imaging SI-2K , Thomson Viper , Vision Research Phantom , IMAX 3D camera based on two Vision Research Phantom cores, Weisscam HS-1 and HS-2, GS Vitec noX, and

360-585: A "digital print" fee to theater owners, have helped to alleviate these concerns. Digital projection also offers increased flexibility with respect to showing trailers and pre-show advertisements and allowing theater owners to more easily move films between screens or change how many screens a film is playing on, and the higher quality of digital projection provides a better experience to help attract consumers who can now access high-definition content at home. These factors have resulted in digital projection becoming an increasingly attractive prospect for theater owners, and

432-510: A 1   TB internal drive for storage, the Redray plays 4K or HD media in the Redcode format. The player uses 12-bit 4:2:2 precision. A cinema laser projector in the same family was also announced in 2012 but never released. On August 18, 2008, Red filed a lawsuit against the electronics company LG over its use of the name Scarlet . Red accused LG "of taking the 'Scarlet' brand name from

504-571: A 4K digital cinema camera, called the Red One and began taking pre-orders. In March 2007, director Peter Jackson completed a camera test of two prototype Red One cameras, which became the 12-minute World War I film Crossing the Line . On seeing the short film, director Steven Soderbergh told Jannard: "I am all in. I have to shoot with this." Soderbergh took two prototype Red Ones into the jungle to shoot his film Che . A short documentary, Che and

576-756: A Canon RF lens mount, a dual BP battery plate, and a global shutter. In 2021, Red announced the Red V-Raptor camera , the current flagship model in Red's lineup of cameras, and the first camera that officially belongs to the DSMC3 family of cameras. Like the Komodo, the Red V-Raptor also has an active Canon RF lens mount, but unlike the Komodo, the V-Raptor is capable of multi-format recording. The V-Raptor features

648-415: A Sony HDW-F900 camera, following Robert Rodriguez's introduction to the camera at Lucas' Skywalker Ranch facility whilst editing the sound for Spy Kids . A lesser-known movie, Russian Ark (2002), was also shot with the same camera and was the first tapeless digital movie, recorded on HDD instead of tape. In 2009, Slumdog Millionaire became the first movie shot mainly in digital to be awarded

720-406: A characteristic grain structure. Different film stocks have different grain. Digitally acquired footage lacks this grain structure. It has electronic noise . The process of using digital intermediate workflow, where movies are color graded digitally instead of via traditional photochemical finishing techniques, has become common. In order to utilize digital intermediate workflow with film,

792-445: A digital camera feasible for Hollywood productions. Part of the process involved using 4K resolution instead of 2K which was most common at the time. Another technical hurdle was to achieve the focusing quality of DSLR cameras without sacrificing frame rate. Part of Red's solution to this problem was developing a sensor with a physical size comparable to that of analog film. At the 2006 NAB Show , Jannard announced that Red would build

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864-493: A film for a hundred years, something that properly stored and handled film can do. Although this also used to be the case with optical disc, in 2012 Millenniata, Inc. a digital storage company based in Utah, released M-DISC , an optical storage solution, designed to last up to 1,000 years, thus, offering a possibility of digital storage as a viable storage solution. RAW format Too Many Requests If you report this error to

936-717: A handful of other frames referring to this frame. If the full frame, called I-frame , is lost due to transmission or media error, none of the P-frames or B-frames (the referenced images) can be displayed. In this case, the whole GOP is lost. Discrete cosine transform (DCT) coding is the most common data compression process used in digital film recording and editing, including the JPEG image compression standard and various video coding standards such as DV , DigiBeta , HDCAM , Apple ProRes , Avid DNxHD , MPEG , Advanced Video Coding (AVC) and AVCHD . An alternative to DCT coding

1008-504: A larger body with an expanded range of ports, internal ND filter, additional aux power, interchangeable lens mount, among other features. In November 2022, Red announced the V-Raptor Rhino, a limited edition version of the V-Raptor, but featuring an 8K Super35 sensor and a light grey color scheme. It was launched with a price tag of $ 19,500. In March 2023, the V-Raptor and V-Raptor XL S35 was launched. These cameras were identical to

1080-581: A lawsuit against the maker of JinniMag, a third party copy of the Red Mini Mag. Videos posted on the Jinni.Tech YouTube channel have accused Red Digital Cinema Cameras of lying to their customers and possibly obtaining their patents by deceiving the USPTO . In May 2019, Apple Inc . filed a lawsuit against Red.com, LLC over several patents relating to digital cinema cameras and sensor processing. Apple lost

1152-623: A more affordable price. Initially equipped with a 5K imaging sensor, upgrades were later offered to a 6K sensor with higher dynamic range called the " Red Dragon ". The DSMC2 family of cameras was introduced in 2015 as the new form factor for all cameras up to 2020. The Weapon 8K VV and Weapon 6K were the first two cameras announced within this line. They were followed by the Red Raven 4.5K and Scarlet-W 5K. Third-party capture formats, namely Apple ProRes and Avid DNxHD , were made available for these cameras. In 2016, an 8K sensor called "Helium"

1224-479: A number of frames from before & after it. In normal playback this is not a problem, as each successive frame is played in order, so the preceding frames have already been decompressed. In editing, however, it is common to jump around to specific frames and to play footage backwards or at different speeds. Because of the need to decompress extra frames in these situations, inter-frame compression can cause performance problems for editing systems. Inter-frame compression

1296-507: A safer medium for storage, benefiting insurance and storage costs. As long as the negative does not completely degrade, it will always be possible to recover the images from it in the future, regardless of changes in technology, since all that will be involved is simple photographic reproduction. In contrast, even if digital data is stored on a medium that will preserve its integrity, highly specialized digital equipment will always be required to reproduce it. Changes in technology may thus render

1368-525: A single computer workstation), are necessary due to the throughput required for real-time (320 MB/s for 2K @ 24fps) or near-real-time playback in post-production , compared to throughput available from a single, yet fast, hard disk drive. Such requirements are often termed as "on-line" storage. Post-production not requiring real-time playback performances (typically for lettering, subtitling, versioning and other similar visual effects) can be migrated to slightly slower RAID stores. Short-term archiving, "if ever",

1440-702: A single large bayer pattern CMOS sensor. A bayer pattern sensor does not sample full RGB data at every point; instead, each pixel is biased toward red, green or blue, and a full color image is assembled from this checkerboard of color by processing the image through a demosaicing algorithm. Generally with a bayer pattern sensor, actual resolution will fall somewhere between the "native" value and half this figure, with different demosaicing algorithms producing different results. Additionally, most digital cameras (both bayer and three-chip designs) employ optical low-pass filters to avoid aliasing ; suboptimal antialiasing filtering can further reduce system resolution. Film has

1512-422: A takeover of the company by Japanese camera equipment manufacturer Nikon Corporation for an undisclosed amount; this may be part of a growing interest of Nikon to expand into the digital cinema camera market. On April 12, 2024, Nikon announced that it had acquired 100% of the outstanding membership interests of Red Digital Cinema. Keiji Oishi, of Nikon's imaging business unit, assumed the role of CEO and Tommy Rios,

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1584-669: Is JPEG 2000 discrete wavelet transform (DWT) coding, used in the Redcode and DCI XYZ video codecs as well as digital cinema distribution. For theaters with digital projectors, digital films may be distributed digitally, either shipped to theaters on hard drives or sent via the Internet or satellite networks. Digital Cinema Initiatives, LLC , a joint venture of Disney, Fox, MGM, Paramount, Sony Pictures Entertainment, Universal and Warner Bros. Studios, has established standards for digital cinema projection. In July 2005, they released

1656-435: Is 1920×1080 pixels), digital cinema formats are usually specified in terms of horizontal resolution. As a shorthand, these resolutions are often given in " n K " notation, where n is the multiplier of 1024 such that the horizontal resolution of a corresponding full-aperture , digitized film frame is exactly 1024 n {\displaystyle 1024n} pixels. Here the "K" has a customary meaning corresponding to

1728-419: Is accomplished by moving the digital files into "slower" RAID arrays (still of either managed and unmanaged type, but with lower performances), where playback capability is poor to non-existent (unless via proxy images), but minimal editing and metadata harvesting is still feasible. Such intermediate requirements easily fall into the "mid-line" storage category. Long-term archiving is accomplished by backing up

1800-477: Is also disadvantageous because the loss of a single frame (say, due to a flaw writing data to a tape) will typically ruin all the frames until the next keyframe occurs. In the case of the HDV format, for instance, this may result in as many as 6 frames being lost with 720p recording, or 15 with 1080i. An inter-frame compressed video stream consists of groups of pictures (GOPs), each of which has only one full frame, and

1872-410: Is identical to that of a traditional negative from a film camera. Unlike a digital sensor, a film frame does not have a regular grid of discrete pixels. Determining resolution in digital acquisition seems straightforward, but it is significantly complicated by the way digital camera sensors work in the real world. This is particularly true in the case of high-end digital cinematography cameras that use

1944-516: Is recorded as digital files onto random-access media like optical discs, hard disk drives or flash memory-based digital "magazines". These files can be easily copied to another storage device, typically to a large RAID (array of computer disks) connected to an editing system. Once data is copied from the on-set media to the storage array, they are erased and returned to the set for more shooting. Such RAID arrays, both of "managed" (for example, SANs and NASs ) and "unmanaged" (for example, JBoDs on

2016-570: The Academy Award for Best Cinematography . The highest-grossing movie in the history of cinema, Avatar (2009), not only was shot on digital cameras as well, but also made the main revenues at the box office no longer by film, but digital projection . Major movies shot on digital video overtook those shot on film in 2013. Since 2016 over 90% of major films were shot on digital video. As of 2017 , 92% of films are shot on digital. Only 24 major films released in 2018 were shot on 35mm. Since

2088-605: The Hydrogen One , with a release date in August 2018. Promised features included a holographic display, spatial sound, compatibility with the Red camera program, the launch of a streaming service, and modular add-ons similar to the "Moto Mods" feature of Motorola's Moto Z . Especially the announced camera sensor module received attention, with Red founder Jannard claiming: "If you were shooting an 8K Weapon on set as your A camera, this could certainly be your B camera." On release,

2160-482: The Red One camera, followed by The Social Network in 2010. As of 2017 , 4K cameras are now commonplace, with most high-end films being shot at 4K resolution. Broadly, two workflow paradigms are used for data acquisition and storage in digital cinematography. With video-tape -based workflow, video is recorded to tape on set. This video is then ingested into a computer running non-linear editing software, using

2232-407: The binary prefix " kibi " (ki). For instance, a 2K image is 2048 pixels wide, and a 4K image is 4096 pixels wide. Vertical resolutions vary with aspect ratios though; so a 2K image with an HDTV (16:9) aspect ratio is 2048×1152 pixels, while a 2K image with a SDTV or Academy ratio (4:3) is 2048×1536 pixels, and one with a Panavision ratio (2.39:1) would be 2048×856 pixels, and so on. Due to

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2304-517: The " n K" notation not corresponding to specific horizontal resolutions per format a 2K image lacking, for example, the typical 35mm film soundtrack space, is only 1828 pixels wide, with vertical resolutions rescaling accordingly. This led to a plethora of motion-picture related video resolutions, which is quite confusing and often redundant with respect to the relatively few available projection standards. All formats designed for digital cinematography are progressive scan , and capture usually occurs at

2376-577: The 2000s, most movies across the world have been captured as well as distributed digitally. Today, cameras from companies like Sony , Panasonic , JVC and Canon offer a variety of choices for shooting high-definition video. At the high-end of the market, there has been an emergence of cameras aimed specifically at the digital cinema market. These cameras from Sony , Vision Research , Arri , Blackmagic Design , Panavision , Grass Valley and Red offer resolution and dynamic range that exceeds that of traditional video cameras, which are designed for

2448-469: The 4K-capable F65, infringed on patents the company held. They requested that Sony not only be forced to stop selling the cameras, but that they be destroyed as well. Sony filed a countersuit against Red in April 2013, alleging that Red's entire product line infringed on Sony patents. In July 2013, both parties filed jointly for dismissal, and as of July 20, 2013, the case is closed. On March 2, 2017, Red filed

2520-656: The Digital Revolution , was made about the Red camera technology that was used in the film's production. The Red One first shipped in August 2007. One of the first television programs to shoot with it was the medical drama ER . In 2010, Red acquired the historic Ren-Mar Studios in Hollywood, and renamed it " Red Studios Hollywood ". By 2011, it had over 400 employees. 2011 was also the year in which Panavision , Arri , and Aaton announced that they would no longer be producing analog cameras. Red Digital Cinema and

2592-920: The Fusion Camera System. Independent micro-budget filmmakers have also pressed low-cost consumer and prosumer cameras into service for digital filmmaking. Flagship smartphones like the Apple iPhone have been used to shoot movies like Unsane (shot on the iPhone 7 Plus ) and Tangerine (shot on three iPhone 5S phones) and in January 2018, Unsane's director and Oscar winner Steven Soderbergh expressed an interest in filming other productions solely with iPhones going forward. Digital cinematography cameras capture digital images using image sensors , either charge-coupled device (CCD) sensors or CMOS active-pixel sensors , usually in one of two arrangements. Single chip cameras designed specifically for

2664-518: The Nikon Group Companies. The Red One first introduced in 2007 was Red Digital Cinema's first production camera. It captures up to 120 frames per second at 2K resolution and 60 frames per second at 4K resolution. Its "Mysterium" sensor was acquisitioned for use with the proprietary RAW format called Redcode. By 2010, Red began selling upgrades to a 14 megapixel sensor called the "M-X". The Red One has been reviewed as having effectively

2736-537: The Red One were widely credited with accelerating this transition in the industry. Schilowitz responded by saying "It was never our goal to kill film. Instead, we wanted to evolve it." In 2010, 5% of the top 100 grossing domestic films that were shot on digital video used Red cameras as their primary system. Their share increased to over 25% by 2016, but has declined since then. On August 19, 2013, Jim Jannard announced his retirement from Red, leaving Jarred Land as president. On March 7, 2024, Red Digital Cinema accepted

2808-428: The Red One. Designed with the goal of facilitating either still images or video, depending on the mounting setup, Red called the concept DSMC for "Digital Stills and Motion Capture". The first camera released for this system was Epic-X, a professional digital stills and motion capture camera with interchangeable lens mounts. After this a new camera line called Scarlet was introduced that provided lower end specifications at

2880-543: The camera company" after Red had denied LG's request to use it. On September 23, 2011, Jannard announced that his personal email account was compromised by former Arri executive Michael Bravin. A lawsuit against Arri and Bravin was filed at the end of 2011; it was settled and dismissed in 2013. On June 27, 2012, Red sued Wooden Camera, a manufacturer of third party accessories, for patent infringement. In February 2013, Red filed for an injunction against Sony , claiming that several of its new CineAlta products, particularly

2952-417: The camera negative must first be processed and then scanned to a digital format. Some filmmakers have years of experience achieving their artistic vision using the techniques available in a traditional photochemical workflow, and prefer that finishing/editing process. Digitally shot movies can be printed, transferred or archived on film. Large scale digital productions are often archived on film, as it provides

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3024-989: The case in November 2019. Apple argued that the patents related to Redcode Raw were "unpatentable", but a judge ruled that Apple's legal team had not provided sufficient evidence to back up their claims. Red's RAW video patent that has resulted in multiple companies being sued by Red is US8872933 . This US patent is scheduled to expire on April 11, 2028. Digital cinematography Many vendors have brought products to market, including traditional film camera vendors like Arri and Panavision , as well as new vendors like Red , Blackmagic , Silicon Imaging , Vision Research and companies which have traditionally focused on consumer and broadcast video equipment, like Sony , GoPro , and Panasonic . As of 2017 , professional 4K digital cameras were approximately equal to 35mm film in their resolution and dynamic range capacity. Some moviemakeres still prefer to use film picture formats to achieve

3096-550: The company discontinued the product line. Red began selling its Redcine-X package for post-production workflow in 2009. The process of decompressing the sensor data can be sped up with a Red Rocket accelerator card. There is a downloadable SDK for working directly with the Redcode images, and another for controlling the cameras remotely. Announced in 2012, the Redray Player was the first stand-alone device capable of providing 4K content to compatible 2D or 3D displays. Using

3168-425: The desired results. The basis for digital cameras are metal–oxide–semiconductor (MOS) image sensors . The first practical semiconductor image sensor was the charge-coupled device (CCD), based on MOS capacitor technology. Following the commercialization of CCD sensors during the late 1970s to early 1980s, the entertainment industry slowly began transitioning to digital imaging and digital video over

3240-676: The digital cameras were subject to strobing or electrical damage from dust. Since 2015 digital has almost totally replaced film for high speed sequences up to 1000 frames per second. Some film directors such as Christopher Nolan , Paul Thomas Anderson and Quentin Tarantino have publicly criticized digital cinema, and advocated the use of film and film prints. Tarantino has suggested he may retire because he will no longer be able to have his films projected in 35mm in most American cinemas. Tarantino considers digital cinema to be simply "television in public." Christopher Nolan has speculated that

3312-476: The digital cinematography market often use a single sensor (much like digital photo cameras ), with dimensions similar in size to a 16 or 35 mm film frame or even (as with the Vision 65) a 65 mm film frame. An image can be projected onto a single large sensor exactly the same way it can be projected onto a film frame, so cameras with this design can be made with PL , PV and similar mounts, in order to use

3384-404: The digital cinematography world compress footage one frame at a time, as if a video stream is a series of still images. This is called intra-frame compression. Inter-frame compression systems can further compress data by examining and eliminating redundancy between frames. This leads to higher compression ratios, but displaying a single frame will usually require the playback system to decompress

3456-908: The digital files from the RAID, using standard practices and equipment for data backup from the IT industry, often to data tapes (like LTOs ). Most digital cinematography systems further reduce data rate by subsampling color information. Because the human visual system is much more sensitive to luminance than to color, lower resolution color information can be overlaid with higher resolution luma (brightness) information, to create an image that looks very similar to one in which both color and luma information are sampled at full resolution. This scheme may cause pixelation or color bleeding under some circumstances. High quality digital cinematography systems are capable of recording full resolution color data (4:4:4) or raw sensor data . Most compression systems used for acquisition in

3528-590: The digital material. Archiving digital material is turning out to be extremely costly, and it creates issues in terms of long-term preservation. In a 2007 study, the Academy of Motion Picture Arts and Sciences found that the cost of storing 4K digital masters is "enormously higher – 1100% higher – than the cost of storing film masters." Furthermore, digital archiving faces challenges due to the insufficient longevity of today's digital storage: no current media, be it magnetic hard drives or digital tape, can reliably store

3600-517: The executive vice president of Red Digital Cinema, became co-CEO. Red's former president, Jarred Land, and James Jannard , Red's founder, remain as close advisors to the company. On May 9, 2024, Nikon Corporation released their financial results report of the year ended March 31, 2024 and disclosed the amount paid, reported as "the deal of the century" in the camera industry: 13,167 million yen, approximately $ 87 million US dollars (the currency exchange rate on April 8, 2024), which represents 1-2% within

3672-530: The film Inception , "Out of six times that we shot on the digital format, we only had one useable piece and it did not end up in the film. Out of the six times we shot with the Photo-Sonics camera and 35mm running through it, every single shot was in the movie." Michael Bay stated that when filming Transformers: Dark of the Moon , 35mm cameras had to be used when filming in slow-motion and sequences where

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3744-405: The film industry's adoption of digital formats has been driven purely by economic factors as opposed to digital being a superior medium to film: "I think, truthfully, it boils down to the economic interest of manufacturers and [a production] industry that makes more money through change rather than through maintaining the status quo." Another concern with digital image capture is how to archive all

3816-518: The film with the highest-resolution post-production workflow. In 2019, Jared Land from Red announced the Red Komodo camera . In 2020, Red started to ship the "beta" stormtrooper white models of the Red Komodo to customers on the waitlist. The price for the beta cameras is $ 6,995, with the regular black shipping models for $ 5,995 (body only). The Komodo camera features 6K video, super 35 sensor,

3888-809: The first version of the Digital Cinema System Specification, which encompasses 2K and 4K theatrical projection. They also offer compliance testing for exhibitors and equipment suppliers. JPEG 2000 , a discrete wavelet transform (DWT) based image compression standard developed by the Joint Photographic Experts Group (JPEG) between 1997 and 2000, was selected as the video coding standard for digital cinema in 2004. Theater owners initially balked at installing digital projection systems because of high cost and concern over increased technical complexity. However new funding models, in which distributors pay

3960-458: The footage shot on film and he announced later that year he would film its sequels entirely on hi-def digital video. Also in 1999, digital projectors were installed in four theaters for the showing of The Phantom Menace . In May 2000, Vidocq , which was directed by Pitof , began principal photography shot entirely using a Sony HDW-F900 camera, with the video being released in September

4032-487: The form of a Digital Cinema Package (DCP), content is letterboxed or pillarboxed as appropriate to fit within one of these container formats. In the early years of digital cinematography, 2K was the most common format for digitally acquired major motion pictures however, as new camera systems gain acceptance, 4K is becoming more prominent. The Arri Alexa captured a 2.8k image. During 2009 at least two major Hollywood films, Knowing and District 9 , were shot in 4K on

4104-470: The format unreadable or expensive to recover over time. For this reason, film studios distributing digitally-originated films often make film-based separation masters of them for archival purposes. Film proponents have argued that early digital cameras lack the reliability of film, particularly when filming sequences at high speed or in chaotic environments, due to digital cameras' technical glitches . Cinematographer Wally Pfister noted that for his shoot on

4176-597: The idea, now re-branded as "digital cinematography," began to gain traction in the market. Shot and released in 1998, The Last Broadcast is believed by some to be the first feature-length video shot and edited entirely on consumer-level digital equipment. In May 1999, George Lucas challenged the supremacy of the movie-making medium of film for the first time by including footage filmed with high-definition digital cameras in Star Wars: Episode I – The Phantom Menace . The digital footage blended seamlessly with

4248-540: The information necessary to retrieve footage from the proper tapes, should the footage stored on the computer's hard disk be lost. With increasing convenience of file-based workflows, the tape-based workflows have become marginal in recent years. Digital cinematography has mostly shifted towards "tapeless" or "file-based" workflows. This trend has accelerated with increased capacity and reduced cost of non-linear storage solutions such as hard disk drives, optical discs, and solid-state memory. With tapeless workflows digital video

4320-425: The limited needs of broadcast television . Digital cinematography captures motion pictures digitally in a process analogous to digital photography . While there is a clear technical distinction that separates the images captured in digital cinematography from video , the term "digital cinematography" is usually applied only in cases where digital acquisition is substituted for film acquisition, such as when shooting

4392-515: The next two decades. The CCD was followed by the CMOS active-pixel sensor ( CMOS sensor ), developed in the 1990s. Beginning in the late 1980s, Sony began marketing the concept of " electronic cinematography ," utilizing its analog Sony HDVS professional video cameras . The effort met with very little success. However, this led to one of the earliest high definition video shot feature movies, Julia and Julia (1987). Rainbow (1996)

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4464-721: The next year. According to the Guinness World Records, Vidocq is the first full length feature filmed in digital high resolution. In June 2000, Star Wars: Episode II – Attack of the Clones began principal photography shot entirely using a Sony HDW-F900 camera as Lucas had previously stated. The film was released in May 2002. In May 2001 Once Upon a Time in Mexico was also shot in 24 frame-per-second high-definition digital video , partially developed by George Lucas using

4536-401: The pace of adoption has been rapidly increasing. Since some theaters currently do not have digital projection systems, even if a movie is shot and post-produced digitally, it must be transferred to film if a large theatrical release is planned. Typically, a film recorder will be used to print digital image data to film, to create a 35 mm internegative . After that the duplication process

4608-419: The previous V-Raptor and XL models and, like the V-Raptor Rhino, have Super35 sensors instead of the original VistaVision sensor. Red has offered S35 PL mount prime and zoom lenses for their cameras. In 2017, Red announced their intentions to enter the smartphone market including planned features such as a 5.7" holographic display and integration with existing camera products. On May 18, 2018, Red announced

4680-473: The same 24 frame per second rate established as the standard for 35mm film. Some films such as The Hobbit: An Unexpected Journey have a High Frame Rate of 48 fps, although in some theatres it was also released in a 24 fps version which many fans of traditional film prefer. The DCI standard for cinema usually relies on a 1.89:1 aspect ratio, thus defining the maximum container size for 4K as 4096×2160 pixels and for 2K as 2048×1080 pixels. When distributed in

4752-740: The same quality as 35 mm film . The Red One was made out of aluminum alloy, and the body alone weighs 10 pounds (4.5 kg). It was used to shoot Che , The Informant , and The Girl with the Dragon Tattoo . In 2010, Red released the Red Epic, which was used to shoot The Amazing Spider-Man , The Hobbit , Prometheus , Pirates of the Caribbean: On Stranger Tides and The Great Gatsby as well as many other feature films. In 2009, Red began releasing new cameras with an updated form factor compared to

4824-470: The smartphone was a critical disappointment and was even cited as a contender for the worst technology product of 2018, arising from outdated hardware and a lack of capabilities. Similarly, the phone was a commercial flop, and in 2019, promised modular add-ons vanished from Red's website, with Jannard announcing the company was "currently in the middle of radically changing the Hydrogen program". In late 2019,

4896-497: The wide range of existing high-end cinematography lenses available. Their large sensors also let these cameras achieve the same shallow depth of field as 35 or 65 mm motion picture film cameras, which many cinematographers consider an essential visual tool. Codecs Professional raw video recording codecs include Blackmagic Raw, Red Raw, Arri Raw and Canon Raw. Unlike other video formats , which are specified in terms of vertical resolution (for example, 1080p , which

4968-691: The world. Red Digital Cinema was founded by Jim Jannard , who previously founded Oakley . As a self-described "camera fanatic" owning over 1,000 models, Jannard started the company with the intent to deliver a (relatively) affordable 4K digital cinema camera. Jannard dates the idea to a time when he bought a Sony HDR-FX1 video camera and learned that the files had to be converted with software from Lumiere HD and were not viewable on Mac OS . Lumiere HD's owner Frederic Lumiere collaborated with Jannard on developing an alternative and introduced him to Ted Schilowitz who became Red's first employee. The early team members engaged in undisclosed research on how to make

5040-727: Was Windhorse , shot in Tibet and Nepal in 1996 on the Sony DVW-700WS Digital Betacam and the prosumer Sony DCR-VX1000 . The offline editing ( Avid ) and the online post and color work (Roland House / da Vinci ) were also all digital. The film, transferred to 35mm negative for theatrical release, won Best U.S. Feature at the Santa Barbara Film Festival in 1998. In 1997, with the introduction of HDCAM recorders and 1920 × 1080 pixel digital professional video cameras based on CCD technology,

5112-596: Was introduced with the two cameras Red Epic-W and Weapon 8K S35 . In early January 2017, this was given the highest sensor score ever, 108, by the DxOMark website. Marvel Studios ' Guardians of the Galaxy Vol. 2 was the first film to be released that was shot on the Weapon. The film was shot at the camera's full 8K resolution, and featured an equivalent workflow, supplanting director David Fincher 's Gone Girl as

5184-505: Was the world's first film to utilize extensive digital post production techniques. Shot entirely with Sony's first Solid State Electronic Cinematography cameras and featuring over 35 minutes of digital image processing and visual effects, all post production, sound effects, editing and scoring were completed digitally. The Digital High Definition image was transferred to a 35mm negative via an electron beam recorder for theatrical release. The first digitally videoed and post produced feature

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