Who owns red cameras

Hydrogen was not a success at all, Many PR stunts to give nothing at the end. Investing now in a expensive RED camera and see that something can disappear overnight is very scary. Not the best way to manage a business for the remaining team. Skip to main content. No Film School. October 25, I want to thank everyone for the support I have felt over the years… Jim And as for the Hydrogen project You Might Also Like. Leave this field blank. It was a great attempt but dont think the tech is there quite yet for hologram technology.

Reply Share Share this answer:. Mark K. Dude your title is times better haha. Intruderstudio Arriflex, long an industry standard and chosen camera of many film veterans, made an entry into the fold with the Arri Alexa series of digital cameras first introduced in Given that transitioning over to digital from traditional film is something many professionals are still getting accustomed to—particularly cinematographers—the D.

Data wranglers have also risen to prominence since the advent of the RED ONE as specialists who are entrusted to process and secure the extreme amounts of data—often on the order of terabytes and in some rare cases petabytes—generated by digital production. Wardrobe and make-up has also had to significantly step up its game as different techniques are required for the 4K age—really, shooting in super high resolutions can be a double-edged sword given that it can be unflattering to acting talent, and increased subtlety is needed on behalf of the makeup artist to make their work look natural.

Not only has the RED ONE pioneered the digital trail since its inception, but it continues to do so with constantly evolving chip sets in addition to free firmware upgrades. A demonstration of how this translates in the real world, courtesy ShootWithRed. Ultimately, the body of a RED camera is not much bigger than the size of a professional still camera, but once adds lenses, dollies, and the rest, it can come close to the size of a traditional film camera.

Setting a Precedent One of the most significant early effects of the RED cameras was how the company made shooting in RAW image format an industry standard. Summer Camps. Supplicants swarm the tent, many of them with offerings—fine wine, gourmet coffee, single-malt whiskey—all to thank Jannard for building the Red One. An example of video shot on the Red One. For a better look, watch it in HD. Video by opus magnum prod.

More Red One video at Vimeo. It's more than that: His team of engineers and scientists have created the first digital movie camera that matches the detail and richness of analog film.

The Red One records motion in a whopping 4, lines of horizontal resolution—"4K" in filmmaker lingo—and 2, of vertical. There's also a slightly higher-resolution option called 2K that reaches 2, lines by 1, Film doesn't have pixels, but the industry-standard millimeter stock has a visual resolution roughly equivalent to 4K.

And that's what makes the Red so exciting: It delivers all the dazzle of analog, but it's easier to use and cheaper—by orders of magnitude—than a film camera. In other words, Jannard's creation threatens to make mm movie film obsolete. Two years ago, Jannard brought a spec sheet and a mock-up of a camera—not much more than an aluminum box about the size of a loaf of bread—to NAB For months, industry watchers wondered if the company was for real. Today, there's no question. The Red One is being used on at least 40 features.

Steven Soderbergh, the Oscar-winning director, borrowed two prototypes to shoot his Che Guevara biopics, which premiered at the Cannes Film Festival in May, and later purchased three for his film The Informant.

Peter Jackson, the Lord of the Rings himself, bought four. Director Doug Liman used a Red on Jumper. Peter Hyams used one on his upcoming Beyond a Reasonable Doubt.

Digital cinema that's all but indistinguishable from film is finally coming to a theater near you. The Red headquarters is in Lake Forest, California, a sprawling Orange County exurb consisting mainly of strip malls and office parks. Jannard, wearing blue jeans, black slip-on sandals, and a lime-green short-sleeve shirt, greets me in the lobby and ushers me through a set of gray metal doors.

On the way into the workspace, there is a sign:. Since I'm getting a tour from the wizard himself, I'm apparently excused from genuflecting. Behind the doors, the walls are festooned with camouflage netting—a nod, perhaps, to the postapocalyptic design of the steel-clad Oakley headquarters half a mile away. But at Oakley, Jannard not only ran the company, he personally shot one of its two TV spots and all of its print ads from to He owns more than 1, cameras, both still and motion picture, several dating back almost a century.

The Red One camera gives moviemakers the best of both worlds. It delivers the ease of use and editing flexibility provided by digital cinema cameras. At the same time, the Red's resolution and color fidelity rival that of millimeter film, and it allows the same kind of control over focus. Bonus: Like HD and 2K digital, it's cheap. When he found he couldn't use the files it produced without translation software from a company called Lumiere, he telephoned Lumiere's owner, filmmaker Frederic Haubrich.

And he said, 'Jim, I know guys in the industry who can help. Schilowitz, Haubrich, and Jannard spent a year trying to design that dream camera, one that would combine the practical advantages of digital moviemaking with the image quality of analog film. They recruited mathematicians, programmers, digital imaging experts, hardware engineers, and physicists.

He kept the project quiet until his team could determine whether building the device was even feasible, but rumors swirled through Hollywood about some kind of mysterious supercamera in the works.

Most of the work took place in what employees call Jim's garage, a 20,square-foot warehouse across the street from Red's massive headquarters. The team quickly concluded that existing technology was inadequate. The guts of the camera—the image sensor and all the accompanying circuitry—would have to be created from scratch. It was a daunting challenge, but the fact that Jannard's management style falls somewhere between Mr.

T and Steve Jobs on the autocracy scale helped. Red is a benevolent dictatorship. The video revolution has been on pause in Hollywood. Just as digital still cameras now rule the photography market, hi-def digital movie cameras were supposed to replace film. But moviemakers never fully bought in. Typical digital videocams use prisms to split incoming light by color and send it to three separate sensors, which tends to soften images. Onboard software sharpens the footage but also introduces halos and exaggerated edges.