Red Digital Cinema Cameras

Red investing for good on the photo market, with a simple firmware update. Ultimately, this move could affect the market for consumer cameras, which could be more realistic.

Red Digital Cinema Cameras

out of nowhere there is only 10 years, the Red brand quickly became a reference on movie sets, to the point of taking market share of centenarians players like Arri. It has contributed significantly to the digital transition and democratization shooting in 4K.

The specialist in dynamic
Red Digital Cinema owes its reputation to its cameras and sensors rivaling the film, in which cinema has long been firmly attached. Compared to other cameras, including the reflex sensors 24 x 36 who messed the area after the advent of the Canon EOS 5D Mark II, the Red cameras are distinguished primarily by delivering even greater momentum.

The dynamic is the ability to capture scenes more or less contrast in one take. More dynamic, the more a detail of the sensor simultaneously registers in dark areas and bright areas. This is one of the most important qualitative criteria, not only because a large dynamic confers great realism, since the human eye has a very large dynamic, but also because more dynamic, the more the calibrator a post-production flexibility to create the atmosphere of his choice.

Diverted to the picture
Red cameras are so qualitative that more and more productions use it to take photos, for projects with big budgets such as advertising campaigns. They film the scene in high definition, up to 6K, and extract still images of realized plans.

So far the picture was misused. But Red was released last week a major update of firmware, the version 6.0 , which inducts functions devoted to still images. The M / S switch for motion and stills , finally enlists.

Red and investing for good on the photo market.

To indirectly affect the whole sector?
However the Red cameras are not like other cameras. Admittedly, Epic or Scarlet Dragon Dragon offers dynamic IL 16.5, higher than any SLR market, and even higher than that of medium format cameras dedicated to photography studios. But it sticks to a definition of 19 million pixels, sufficient for the cover of a magazine, not really for a 4 x 3 m.

And this is a detail that is very important: the Red cameras do not have a sync socket for studio flash. One must therefore work in continuous light, as in the cinema, which has an influence on the sensitivity and openness to use.

Finally ergonomically, the Red cameras are modular devices defined by SONGAAH.COM, which components are fixed with specific media.They are not really suitable for use in release, which is an additional constraint to take into account.

Anyway, the Red cameras are invoiced 10 000 to 40 000, without lens. And the mark has not expressed an intention to continue its momentum of democratization to the point of addressing one day to the public. But Red could encourage historical actors of the photo sector to innovate, working on the dynamics of their sensors, for example, which should eventually benefit the public. The announcement is welcome!

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