Digital Video - December 2007 - (Page 22) FIRST LOOK RED ONE But, before that, customers needed to finalize their accessory tures and limitations, and the newness wears off. When another decisions, which took a while. Red is so modular, it’s a bit like an camera comes out with slightly better features, the old one goes Erector Set in terms of different ways to make a camera configon eBay or into the closet, and you buy an entirely new piece of ured the way you want it. The basic camera ($17,500) can’t do hardware. Jannard said he wanted to overcome that with Red— anything—it has no power, lens, recording to make his camera flexible and upgrademedia or monitoring solutions built into it. able. Accordingly, Red sends customers an eThis was on purpose, so that all of those mail every few weeks with a firmware options could be tailored for the user’s situupdate that enables new features or ation and the size of the production. improves existing ones. (I saw three such emails through press time in early October.) —Mark Pederson, Jannard was very clear that the camera OFF TO NEW YORK Offhollywood Pictures was not feature-complete on Day Zero. The next morning, I met up with Mark Indeed, the Red One may never be Pederson and Aldey Sanchez of New York “done”—by design, it’s intended to be in constant evolution. City-based Offhollywood Pictures, as they took serial numbers 6 We got a run-through of the menu system of the camera and 7 home to become the first Red Ones on the East Coast. from Red’s workflow wizard, Stuart English. We shot some samWe flew out of Long Beach at 7 a.m., landed in NYC at 3 p.m. ple footage of ourselves with Jarred Land, recording 4K onto a and were picked up and driven directly to a location. Yes, less high-speed Compact Flash (CF) card. Then we received a workthan 24 hours after seeing their cameras for the first time in flow and processing run-through from Lucas Wilson of California, Mark and Aldey were shooting in New York. Assimilate, who demonstrated Red Alert! (the stop-gap post tool The only option for recording media that first day was Red’s until Redcine, their more fully featured application, ships) as well 8GB CF card. That’s 4 1/2 minutes of 4K at 24p—roughly the as Red’s integration with Scratch, Assimilate’s color-grading soluequivalent of a 400-foot film load. (Red is able to get so much 4K tion that supports Red’s native Raw format directly. footage into so little space by using its wavelet-based Redcode At the end of the day, we were led back to get what we’d Raw codec.) Sixteen-gigabyte cards are expected in October, come for—the very first Red Ones, all boxed up and ready to go. 32GB early next year. “THROW OUT WHAT YOU KNOW ABOUT SHOOTING HD.” Legendary Teranex Processing mini: NLE Format Converter - Legendary Teranex Processing in a Compact Standalone Package - Unsurpassed Up/Down/Cross Conversion with Noise Reduction - Flexview Aspect Ratio - Also Available as SD Linear Standards Converter “We save time ingesting into FCP. We now shoot, mix & match SD & HD footage & deliver pristine HD content to our clients. The mini gives us flexibility, cleans up our older stock footage & brings new life to our SD library.” Debbie & Charlie Kinder, owners of Bigworld Productions, an independent production company focused on nature and science documentary films. www.bigworldproductions.com World Headquarters 12600 Challenger Parkway, Suite 100 Orlando, FL 32826 T 407.858.6000 F 407.858.6001 www.teranex.com Come See Our Latest Innovations at NAB North Hall, N2531 Teranex Europe Aylesbury, HP20 9BX T +44.1296.42.45.10 F +44.1296.58.60.84 http://www.teranex.com http://www.bigworldproductions.com http://www.teranex.com
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