1. RED Redirect (No time for Dreaming)


    from Jason Hernandez / Added

    211K Plays / / 116 Comments

    RED gave 12 skateboard cinematographers the opportunity of a life time. RED supplied all of us with the same camera package, and told us to come back in 2 months. We had a week to complete our edit, with no guidelines, and total freedom. The Berrics http://theberrics.com/dailyopsn is hosting our videos on their site 1 week at a time. Artist statement: http://theberrics.com/redirect/artist-statement-jason-hernandez.html?autoplay Ret BTS: https://vimeo.com/93197568 Thanks RED, the Berrics, and Nike SB, and of course Trevor Colden for killing it. Music: Charles Bradley, Song: No time for dreaming.

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    • Ridley Scott


      from RED Digital Cinema / Added

      25.2K Plays / / 23 Comments

      In a rare, exclusive interview, Ridley Scott gives a glimpse into his leap to digital acquisition and how RED has changed the way he shoots his movies. Once a self-proclaimed "film man," Ridley discovered that he could acquire images that met a sharpness and clarity he had always sought when he chose RED cameras to shoot his latest feature, Prometheus. Since wrapping Prometheus, Ridley Scott has served as a producer on Loom -- a short film directed by Luke Scott and shot on RED EPIC -- which premiered at NAB 2012 at the RED booth.

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      • Interview with Greg St. Johns from Criminal Minds - An EPIC Transition


        from RED Digital Cinema / Added

        8,822 Plays / / 15 Comments

        View the full article on RED.com at http://www.red.com/learn/interviews/greg-st-johns-epic-transition As DP Greg St. Johns reflects on shooting season 7 of the hit CBS show Criminal Minds, it’s clear that his recent transition to RED technology has had a significant impact on production. After moving to the RED EPIC from the Sony F35, St. Johns was more than pleased with the results. “The RED is just such a massive leap from where we were last year,” he says. “You’re talking about a camera than can pretty much do anything film could do. And actually do it faster.” While it’s no secret that television moves at an accelerated pace, Criminal Minds particularly embraces a run-and-gun aesthetic that demands a high level of mobility and professional quality that only the EPIC could provide. “This camera is by far the best thing I’ve ever come across,” St. Johns explains. “I think I’ve cut my stress level in half because I don’t have to invest so much fear in not being able to achieve what’s in my mind.” The push for RED was one that required Greg St. Johns to convince others that the transition to something new was going to be worth the effort. After the invitation to demo RED technology at RED Studios was extended to producers, it was evident that there was no other choice. “They really were speechless,” Greg St. Johns recalls from introducing the EPIC to the Criminal Minds team. “They really almost had nothing to say but ‘this is going to make all of our lives easier across the board – from post-production through production.’” “It was really nice to know that [RED] made such a great product, that it stood on its own and it explained everything without having to sort of really push it on anybody.” Coming from a tape-based workflow, the challenge for Criminal Minds was to determine how to incorporate an all-digital pipeline into their post process. For years it has been misinterpreted that RED is difficult to work with in post, when it’s actually one of the more flexible and accessible formats in the industry today. Michael Cioni, CEO of Light Iron, was able to take the time with Greg St. Johns and company to explain just how easy it is to piece together a seamless strategy for a broadcast-ready RED workflow. When describing the introduction of the new post workflow, St. Johns says he “had everybody in post-production just in awe of the combination of RED and Light Iron.” “Light Iron was definitely a key component in the transition to RED being so smooth.” For half a decade, RED has been widely adopted in the word of cinema. Now with all of the advantages and features that the EPIC brings to the table, television looks to be the next frontier. Greg St. Johns is wrapping up his first season with the RED EPIC, but is still thrilled with the finished product. “I still wake up and I get to go work and play with one of the best pieces of equipment I think made in Hollywood today.”

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        • REDCINE-X PRO: Saving Looks To Camera


          from RED Digital Cinema / Added

          28.7K Plays / / 7 Comments

          This tutorial demonstrates how to create a customized look in REDCINE-X PRO and save it to camera. By saving your look from REDCINE-X PRO to your REDMAG 1.8" SSD, custom grading can then be viewed in real-time with live footage on the camera's preview screen. If at any point you want to change your look, REDCODE RAW files allow you to revert back without compromising image quality. Total length: 2 minutes. Download REDCINE-X PRO here: red.com/downloads/4fad7fd417ef027cd8000eb1

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          • REDCINE-X PRO: Audio Sync


            from RED Digital Cinema / Added

            20K Plays / / 1 Comment

            RED Digital Cinema Camera company brings you this tutorial where you will learn how to sync and manage BWF (broadcast wave files) audio in REDCINE-X PRO. From linking to R3Ds to selecting slate points, Dan from RED covers all of the basics you need to know to help you bring sound to your 4K/5K images. REDCINE-X PRO software is available for free and can be found here: https://www.red.com/support/all/downloads/26/release_history Topics Covered: Audio Panel (Control, Playback Channels, Auto Match) Auto Match Manual Selection of Audio Files Setting Video Slate Point Setting Audio Slate Point Slate Offset

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            • Hot Hot Heat...


              from Patrick Wieland / Added

              1,939 Plays / / 0 Comments

              It gets really hot in Florida sometimes...

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              • Cine EVF Recoil Product Update


                from Zacuto / Added

                1,662 Plays / / 0 Comments

                The Cine EVF Recoil rig is compatible with the RED One, Epic, Epic Dragon, Scarlet, Blackmagic Cinema Camera, AJA Cion, and ARRI ALEXA. The universal fit and adjustability of our VCT Universal baseplate and other accessories means this one rig easily fits all of these cameras. Next Generation Recoil rigs are designed for optimal balance and comfort when shoulder mounted or on a tripod. With lenses and cameras being similar weights, the balance point approximately is where the lens meets the camera body. In a Recoil rig, the balance point needs to be directly over your shoulder which puts the camera behind you. This requires focus, monitoring and camera controls to be relocated forward, creating a lighter and shorter rig. Next Generation Recoil rigs are compatible with all cameras from a mirrorless to a camera the size of an ALEXA. http://www.zacuto.com/cinema-recoil-rigs

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                • ProVideo Coalition - RED Cameras - NAB 2012


                  from RHED Pixel / Added

                  681 Plays / / 1 Comment

                  Richard Harrington interviews Ted Schilowitz about the future of RED cameras at NAB 2012.

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                  • || NAB 2013 || RED Digital Cinema Gear


                    from Nice Lady Productions / Added

                    1,009 Plays / / 0 Comments

                    RED Digital Cinema made a BIG splash at NAB 2013, giving attendees a taste of their REDucation training course, as well as showing off their new camera RED DRAGON, the MEIZLER MODULE, wireless REDLINK family, RED MOTION global shutter mount, REDRAY, ODEMAX and other RED components. For more information about the new releases from RED, check out their website: http://bit.ly/19bBiRO Comments and questions always welcome.

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                    • AMC Our World - Making Of


                      from Kube Studios / Added

                      1,296 Plays / / 2 Comments

                      Go behind the making of 'AMC - Our World, you'.

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