Added: 5 years ago
From: Junyo
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  • it says $17500 in this add but the web site quotes it @ $25k large

    whats the real price and where can we get it at $17500 ???

  • @gingerbreadmanquan the latest red one is 25,000 $ with improved sensor 14 MEGAPIXEL MYSTERIUM-X.

  • is this the same camera rick ross shoot their vlogs with? im trying to find out what they use so i can get that camera and use it...

  • Red Did a demo of 2 types of video. Uncompressed raw, And The new R3D Codec. They did a speed test of the first video And it was 1.3 GB/s, They Managed to Put it Down To 10MB/s

  • AS LONG AS THE WIRE'S DONT  OVER HEAT YOU CAN GO UP AS HIGH IN HIGH DEAF AS YOU WANT.

  • what can a info red camera not see throw please get back at me if you know what does! THANKS:)

  • why didn't you upload it in 4k instead u upload it at the shittiest 240p and expect us to c the cameras resolution

  • @PaceyPimp I don't expect anything. Back in 2006 I didn't have a FullHD camera with me at the presentation at the IBC and most certainly didn't carry a 4K-camera (which, back then, where HUGE). Also, YouTube didn't even support HD-uploads back then.

  • @Junyo so do an update in 4k now that youtube supports it

  • @Junyo It would be a good idea to re-upload this video because not only does YouTube support HD video, it now supports 4K Video ...

  • soo...would a 60 second video at full 4K resolution be like 100 YB? (search Yottabyte on wikipedia)

  • @bakonfreek it's about ten to the fifteenth gigabytes

  • I think it's beautiful. 

  • I think it's beautiful

  • i don't give a crap on what it looks like i only care on how good it is, ppl r only going to see what pix i send out not of my camera

  • better Than Imax?? wtf?

  • Bravo! historical document! 2006!!

  • 4K is amazing, I saw a demo at the apple store while I was in San Fran, it was amazing!

  • BULLSHIT, You 'r talking about 4K in YOUTUBE resolution and tell us, watch te details ...

    Funny

  • hes talking about the fact that there is much more than super high resolution in the camera

  • I love 4K RED, but saying ''watch the details'' while it's in youtube ...doesn't fit

  • The resolution is nice, but did anyone else notice how shallow the depth of field seemed to be when the subjects moved? One NAB demonstrator themself commented on the shallow depth of field at 4K, and so recommended 2K for "documentaries" that were going to be shown on tv and not the theater if a deeper field was desired. Why should higher resolution cause shallower depth of field? I guess that's a topic for a camera forum....

  • "The resolution is nice, but did anyone else notice how shallow the depth of field seemed to be when the subjects moved?"

    Depth of Field is an aperture issue, this has nothing to do with the camera it's self.

    EXAMPLE:

    f22 gives you more Depth of Field then f5.4

  • I think it's the other way around. The lower the f value the bigger the opening and the bigger the out of focus area.

  • Hello mmcho, yes, that's what I just said.

    Only in reverse!

  • from wikipedia:

    The camera also allows the sensor to be used in a windowed mode in which the sensor can emulate the active area of a Super 16 film frame while capturing 2048 pixel resolution footage. This allows the camera to be used with Super 16 lenses.

  • Depth of field is affected by the size of image the lens projects to - thats why 35mm lens adaptors use a ground glass - to project light onto a bigger area, then focused onto the smaller sensor. I guess if you shoot on 2k, then less sensor is used making the surface area of the projected image smaller therefore decreasing dof.

  • higher res more light= shallow DOF

  • Depends on aperture, focal length and distance to subject.

  • I know what I'm gonna ask my mom next Christmas

  • DUKESTEIN RULES!!!!!

  • This camera is tight I wish I had some extra cash for one of these but its a little more than a high end pannasonic

  • I know I always love the look of digital in low light, much like this presentation. But then the sun comes out! Where are the shots with natural light??? Scare-dy, scare-dy, S-care - -Dy!

  • Exactly, I'm also curious for the outdoor shots. These images you probably can get the same result with a good DOP and a sony DV camera. It is easy if u have full control over the light to get an amazing image. I wonna see outdoor shots ... anyway i've seen the Peter Jackson images and it look prety good.

  • This model will never be accessible to the masses. No Autofocus (and a 35mm sensor means you'll need a focus puller.)

    In regards to "why 18-50"? Actually that's not "normal to more wide" That's somewhat wide to zoom. You have to remember that this is a Super35mm sized chip and not your standard still 35mm sensor/film. Therefore 18mm is significantly less wide than you would expect and 50mm is actually starting to approach a bit telephoto.

  • damn... that is one NICE camera... hope that is produced for the mass and easily available at normal camcorder prices!!!

  • hmm...i wouldn't consider 17,500 bucks a "normal camcorder price" ;)

    oh, and that's without the lenses. :D

  • Great review! submitted to our review website.

    digicams(dot)com

  • Why did they change the zoom? 18-85mm sounded pretty good, what are you going to do with an 18-50mm? That's just normal to more wide.

    I guess it doesn't matter because i can't afford it anyway.

  • not you too Cerati? You really didn't get the point i was trying to make. Equipment in video production is KEY. Yes, i know 28 Days Later was shot with an XL1. A high quality 3CCD miniDV camcorder. you'll notice they didn't shoot with a Canon ZR500. Do you get that? They chose a really nice camera. Oh yeah and plz don't forget they had this movie color corrected and up-rez'd. by pro's with really nice EQUIPMENT.

  • WOW. Sean57 really doesn't get it. do u not see the big picture here dude?  it's not just about a better camera its about finally being able to capture your vision without having to spend millions. Now you can look Hollywood and stay Indie. yes ppl can spend more time being better DPs but equipment is KEY and if you don't know that by now than u better go home. i c your using the DVX100, why don't you go by a Sony Handycam and pretend to be a pro with that camera. Get it?

  • Equipment is not key...28 days later was shot with canon xl's and is a much better movie than Episode One, which was shot on Sony HD cameras...which are more expensive...money isn't everything

  • not you too Cerati?  You really didn't get the point i was trying to make. Equipment in video production is KEY. Yes, i know 28 Days Later was shot with an XL1. A high quality 3CCD miniDV camcorder. you'll notice they didn't shoot with a Canon ZR500. Do you get that? They chose a really nice camera. Oh yeah and plz don't forget they had this movie color corrected and up-rez'd. by pro's with really nice EQUIPMENT.

  • Except for about five shots, Episode One was shot on 35mm.

  • It was shot with an xl1s, yes, but with $30,000 PANAVISION LENSES, to a D1 UNCOMPRESSED taped deck, and uprezzered/cc'd by professionals.

  • but do you make money with equipment, or talent. you can give a monkey the hands of god and what would resolt

  • I shoot with a hopped up panasonic dvx100 I build all my own gear and my panasonic does the same exact shit! I GET THE SHOT I WANT AND MOVE ON and dont wait for some miracle moon camera. dAMN IF YOU GUYS WENT OUT AND JUST Be camera guys then youll have more content to keep your brains more in the moment then this pretty little piece, google the film Lumiere and see what creative types can do with the original box cam and no focus or zoom. Sean

  • hmm all very controlled and safe. wheres the exteriors?, the bright sun?

    what are you afraid of red?

  • sony,panasonic,canon, can easy pack up they shit and leave this industry if they dont come up with anything better. and i hope they will in future realese something for enduser.

  • This stuff IS the future and RED is ALL OVER it. Get on board or get behind

  • Get behind what? There's nothing from RED to get behind? If you want to get behind something how about something that exists like a Varicam, Viper, or 4K Dalsa Origin!

  • too bad the camera is ugly as hell.

  • In the everlasting struggle between aestheticism and functionality, they seem to have chosen to go for the latter first and worry about the former later. One might call the current design-choices "industrial", but to call it "ugly as hell" is "superficial". :D

  • @Junyo Is the TONKA of cameras, love it!!!

  • @Junyo honestly I like the industrial look, makes this camera stand out even more and helps it be a modular camera

  • @TheLastMan25 Wow I thought this was one of the most beautiful cameras I've ever seen. The machining is stunning.

  • @TheLastMan25 it looks bad ass, and what if it looks ugly, its the quality that counts the most man

  • You've got to be lame to believe that Jim Jannard would spend massive amounts of time getting suggestions on elements that go into the camera from the videography community, massive amounts of money in development, and a whole lot of hours working on vaper-ware. By the way, hot-shot digital cameras don't have to be much else but censors and lenses. Look at the Silicon Imaging camera Mini.

  • SI's camera is far more than sensor and lens. SI is very pulic about the camera, and what they are doing. Do a little reading and you'll can learn all about it. It's NAIVE to believe that's all it takes is a sensor and lens.

  • Red is a revolution in cinema videography. Anyone who has been following the developments on forums dedicated to videography

    is very excited about Red. This presentation on YouTube does not

    really do the footage justice but you can clearly see that the quality

    of the imagery is excellent. This camera equals 35mm film and blows

    the competition in high end HD cameras out of the water!

  • If the camera is revolutionary, please present it. Oh wait, it doesn't exist! The RED ONE didn't shoot those images - a sensor hooked up to a lens on a bench did. If you can't pick it up and shoot with it, it DOES NOT blow anything out of the water! I'm in line like everyone else. Bring on the camera, I'll believe it when I see it, until then it's vaporwear.

  • blows them out of water maybe out of this universe

  • DP101 what are you talking about???? Have you been following this from the begining or have you just tuned in the last 5 minutes? You should tell sony to keep their money when they ask you to post crap. See you next year with my Red camera.

  • I noticed all the footage was very short. Is this because the data rate is so high? What's the real world story on data transfer and storage for Red? Thanks for uploading this footage, BTW.

  • The Red captures RAW-footage at 323MB/s, 24fps, 12-bits linear, but they are working on a VBR wavelet compression-codec (Redcode RAW) that turns that into 27MB/s, 24fps, 10-bits logarithmic.

  • @Junyo Actually Youre Wrong And Right. Red Did a demo of 2 types of video. Uncompressed raw, And The new R3D Codec. They did a speed test of the first video And it was 1.3 GB/s, They Managed to Put it Down To 10MB/s

  • DP101-- why so negative? What screening in LA? What are you talking about?  Was there a screening that the public did not know about prior to IBC?

  • Thanks for posting the video! It proves what I've been saying for months. Redco won't exibit, or post REAL engineering charts with verifiable images. If they are for real what are they afraid of? How about something lit with flat light? How about daylight? Why no Q&A @ IBC? I heard about the folks who walked out in the middle of the screening in LA. Guess in reality it's more like 2010, have a nice wait.

  • I actually have Q&A footage in which nearly all of your critizism is addressed. I'll post that footage after IBC has finished and I have some time again.

  • Execellent Job Jim,Ted and the Rest of The Red team.It was worth the wait.Case of Fine Cigars on me.: )

  • Cool! I'll be at the IBC monday and tuesday!

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