So what exactly was the issue? Jannard decided to create his own shoot out after disagreements with company Zacuto over 2K vs 4K. Jannard says that companies should stop living in the past and embrace the future of 4K, pushing out a 4K finish on top of 1080p and 2K, while Zacuto argues that 4K simply isn’t fully with us yet in terms of equipment or movie theater showings.

Zacuto go on to say that Jannard refused to participate in past shoot outs despite invitations being extended, “begging” Jannard for an EPIC camera yet receiving no reply, and ultimately catching some heat from fans when there was no RED appearance in the final competition. It seems then that Jannard wanted to do things on his own terms, including a proper 4K shoot out, but says that “several companies have refused to participate”, and that RED “just aren’t up for the grief. We have better things to do.”

Jannard himself admits that “resolution is not everything”, but movies shot on these cameras are going to be around for a long time. Unlike film, the resolution you shoot in is the resolution that the content is going to be stuck with for the rest of its life, so why not shoot higher? Then again, there are other aspects to take into account. RED’s workflow is said to be more complicated than other digital offerings, and some directors may simply prefer film. Christopher Nolan for example says he much prefers film, saying that it looks better and is cheaper to work with.

[via The Verge]

Jannard says that footage will be screened in both 2K and 4K using digital projectors across several screen sizes, including 10, 20, and 40-feet. Comparisons will also be made between resolution, frame rates, dynamic range, and color. When asked if he was worried at all about other companies besting RED cameras in the competition, Jannard replied that he wasn’t and that the “customer has the right to know.”

The CEO goes on to say that he would be “disappointed” if other companies didn’t participate, as this will be the only test where they have complete control over the equipment and testing. There hasn’t been any indication of camera companies taking RED up on the offer so far, but hey, if they do, there’s a free lunch in it for them. No, really: Jannard will be providing lunch for free. If the event does end up happening, it’ll go down on June 4th in Hollywood.

We asked Pizzo what his team did for the 3D film industry as far as gear for 3D filming and productions. [Have a peek at our report on the new Helix 3D camera rig to see what they're presenting this week at NAB.] The products created by Element Technica, the group that late last year was combined with 3ality Digital to create the super-group known as 3ality Technica we know now, was instrumental in making all Prometheus 3D sequences a reality. Literally instrumental, no less, as it’s 3ality Technica rigs that the crew’s cameras sit on throughout the film.

SlashGear: For larger 3D productions like Prometheus, are you ever called to be on-site to help with instructions on how to use these rigs with the film’s crew?

Pizzo: Not exactly – especially with Prometheus, Underworld, or Oz, what we did was we worked with the director of photography and his crew – the people that he’s just working with, and we train them in the operation of the equipment. We’ll provide as much support as they require, but typically once they’ve had a little bit of training just before the production starts – once they’re up and running – they need very little from us. Now if someone wants us on set, we’re happy to go and provide whatever support is necessary, but it really hasn’t been necessary.

SG: Did anyone from the 3ality step on set for Prometheus?

P: I was on the set of Prometheus a little bit in the beginning because Dariusz Wolski came to me personally and the requirement he gave me was – he said he had made a promise to Ridley Scott that if he used our gear that he would be able to move at the speed of 2D production. And he would be able to treat the rig itself as just cameras – since that’s essentially what they are. I visited the set a couple of times early on in production to make sure they were getting exactly what they wanted and they were, they were very successful.

P: They used five Atom rigs. Four of them were configured with [RED] Epic cameras and zoom lenses set up in studio mode where they can go on a dolly or a tripod. The fifth one was working with Epic cameras and fine lenses and was set up on a steadicam.

They had the four studio cams working continuously and they would bring in the steadicam rig as required. The crew moved the rigs around just as if they were regular cameras, and other than the addition of a convergence puller for that shoot, it looked very much like a standard crew compilation.

SG: From what I understand, Ridley Scott actually took a little bit of convincing to actually get onboard with the whole 3D experience – did he see how your products were working and end up being immediately on-board?

P: I wasn’t involved in any of the discussions with Ridley, that was really Dariusz Wolski so I don’t want to speculate – what I know is what Darius told me which was that he wanted to deliver to Ridley the best experience possible with 3D, and that’s why he was coming with us.

Above you’ll see another view of the Atom rig with RED camera gear installed. Expect great things (if you haven’t already begun to do so) from both 3ality Technica and the film Prometheus, opening June 8th, 2012 in theaters everywhere. We’ll have the second segment of our 3ality Technica interview soon!

[Head photo via Gavin Rothery]

In case you’ve not been keeping up, 6K resolution means a whopping 6,000 x 4,000, enough to make the 1920 x 1080 of Full HD look altogether pitiful. On that level, $6,000 starts to look almost reasonable: RED can afford to do that as its camera systems are so modular, offering owners the chance to customize their setup depending on what style of photography or videography they do.

That 6K recording will be done at at least 85fps, according to RED’s Jim Jannard. He says the Dragon sensor itself “is slightly larger than the Mysterium-X sensor and the pixel size is slightly smaller. The pixel design and sensor design makes all the difference in the world … Most all of your current lenses will work.” Light performance is also better than the Mysterium-X, he says, with a 30 x 15.8 mm sensor and 5 micron pixel size.

RED is yet to confirm how much Scarlet owners will have to pay for the Dragon sensor upgrade, though based on the $6,000 EPIC price tag we’re guessing it won’t be cheap. Upgrades will begin late this year for the EPIC, with Scarlet upgrades kicking off in 2013, though RED warns that everything is subject to change.

[via The Verge]

“We will be showing an Epic reel on our 40 foot screen from our 4K projector including a recent military themed demo reel shot on Red cameras” the company promises, though gives no further technical detail about the anticipated setup. According to the few details shared by RED’s Jim Jannard back in September, the projector is targeted at home users as well as theater use, uses a laser light source and offers passive 3D.

Combined, that was all good enough to make one lucky viewer of the 4K projector prototype to claim it had “generated the best color, best dynamic range and best images I have ever seen in 3D or even 2D.” There’s no mention that we can spot on RED’s ever-enthusiastic forum of the RED Ops Night, though with its military focus it’s possible that the company is keeping things low-key.

[Thanks Nikesh!]

The RED Scarlet is a 4K camera, which means it has the capability of shooting super high-definition at a full 4096 x 2160 resolution at slightly higher than 25 fps. It also shoots 3K resolution at 48fps, 2K resolution at 60fps, and a less usual 1K at 120fps for smooth slow-motion capture.

RED has worked hard to keep costs down for the modular 4K camera, but still kept a Super 35-leve sensor that’s typically found in models that are much more expensive. And its Redcode has virtually eliminated any bitstream artifacts when streaming. The camera is capable of streaming up to 50MB/sec of video.

[via Engadget]

The effects company is called OMStudios and the thing is an octocopter with eight little motors and propellers to fly it around. I guess the idea is that a filmmaker can use the flying drone rather than renting a crane to shoot from the air. The drone can climb to 150 meters making it good for some shots at impressive altitudes.

I don’t know how much this thing would cost to rent, but buy the insurance policy. A dead battery in this flying machine would be bad news indeed. The camera under the drone can shoot film at 5K resolution and costs more than a nice new car. Check out the video below to see the rig in action.

[via Engadget]

“After watching a demo of RED’s laser projector I’ve been struggling to find a way to describe it. Comparing it to traditional professional systems is completely inadequate. I have never witnessed 3D that was as bright or brighter as the best 2D projections until now. It generated the best color, best dynamic range and best images I have ever seen in 3D or even 2D. When I learned we were watching at 1/4 of its total resolution I was speechless.

It was so clean and so vibrant the only thing I can compare it to is Cibachrome. That’s it, a giant moving Cibachrome!” Stephen Pizzo, Element Technica co-founder; now partner of 3ality Technica

Later, the exec confirmed that the new RED model is targeted at home users as well as theater use, and that the release date – although not yet public – is expected to be “sooner rather than later.” Technical details of the projector are unclear, though the fact that it relies on a laser system (rather than one of Texas Instruments’ 4K DLP chips) is obvious.

It’s also using a passive 3D system – more details on the difference between passive and active 3D in our SlashGear 101 guide - but seemingly has sufficient brightness so that one of the common complaints of the technology, that it dims the picture, is no longer an issue. Jannard leaves us wanting with his final word on resolution: ”we can easily see the difference between 1080P and 4K delivery on a 10′ diagonal screen. On a 40′ screen it is hugely significant.”

[via This is my next]

Even on a hi-def monitor, we just can’t show you that resolution, but we included the sample video anyway. The video was shot with the Scarlet’s 8x fixed lens. This music video style clip can give you an idea of what this camera is capable of. For those that don’t know, that would certainly include slow motion.

Like other modular cameras from RED, the Scarlet “brain” can be purchased on its own or in a bundle. The bundle is supposed to include the brain, a fixed 8x zoom, CF module, 2.8-inch touchscreen, REDmote, a battery and a travel charger, for $5,750. The brain alone is estimated at $3,750. So, if your budget can afford the price tag, you too can shoot family videos in slow motion or broadcast quality high definition.

<via> engadget

The camera itself is worth $58,000, and the reward is contingent on not only the main EPIC unit itself but the rest of the system and owner Mark Pederson’s media (complete with files) being returned safely as well. Pederson, who is the head of studio OffHollywood, was in France with family when thieves broke in overnight and remove the RED camera and various other valuables.

Last night, Pederson woke up to find that his chalet in France had been entered forcefully through the front door. Pederson, who wrote about the event on the REDUSER forum, said that “there was a forced entry through the front door. The thieves actually entered the master bedroom while my in-laws were sleeping, and standing a foot from their bed – emptied wallet and purse. There were 6 children and 8 adults sleeping in the house.” Police are actively working on the case, and hopefully the person, or people responsible for the theft will be found and the RED EPIC will be returned to its rightful owner. After all, a $58,000 purchase is nothing to take lightly.

[via Engadget]

As with other RED cameras, Scarlet will be a modular model capable of shooting 3k video or higher.  Pricing for the Scarlet “brain” was original expected to be $2,750 – now increased to $3,750 – while RED also plan a Scarlet 8X Fixed bundle which would include the brain, a fixed 8x zoom, CF module, 2.8-inch touchscreen, REDmote, a battery and a travel charger, for $4,750.  That will presumably rise to $5,750.

[Thanks Matt!]

As before, it’s a modular system that can be used with RED’s various handles, displays, digital storage units, mounts and other components.  Lenses attach with a regular P/L mount, though you don’t actually get a lens for your $25k; RED have a fulsome selection kicking off at $4,250 apiece.

Expensive stuff, certainly, but capable of some stunning results in the right hands.

[via Electronista]

Thanks to an image posted on the Red User forum, we can say that the Scarlet camera, in fact, does exist. And, it’s still looking good. We imagine that, despite the fact it still doesn’t have a release date, that it’s still going to be priced somewhere around that $3,000 mark. It will also still feature that touchscreen, 8x fixed zoom, and plethora of input options. It will easily be one of the priciest cameras on the market, whenever it launches, but considering it’s supposed to shoot better video than some of the best cameras deployed in Hollywood right now, perhaps that price tag is worth it. If anything, we’re just happy to see that the camera is out there.

[via REDuser.net Forums]

“We have working EPIC cameras… and are adding features on a daily basis. Firmware upgrades are happening fast and furious. But please remember that we are not going to release a buggy camera with limited features this time, so keep that in mind. Lots of testing, upgrading, new features, bug patrol… and all of the above happening now. The RED ONE is now one of the most reliable cameras in the industry (after a humble beginning)… EPIC will not be a step backward.” Jim Jannard, founder, RED

The RED EPIC will be the first to arrive, with Scarlet trailing by an unspecified amount of time; still, Jannard says he expects it to launch before the end of 2010.  Meanwhile the company has also taken the opportunity to extend the camera’s mainboard by 13mm, which will have a minimal knock-on effect on manufacturing.

Jannard also confirmed that, as tipped previously, EPIC production will take place in the US; it is unclear where Scarlet will be manufactured.  Meanwhile, the new Bomb EVF (electronic viewfinder) will begin shipping in mid-July.

[via Electronista]

That partner, it’s speculated, is Foxconn, who have been dealing with numerous employee suicides of late and have recently announced plans to significantly increase wages and perhaps even close certain Chinese manufacturing facilities.  Jannard claims to have moved RED EPIC production to the US when the company first heard of the issues, “hoping that the company would find a solution in time for Scarlet production,” but “that now seems unlikely.”

RED now have over twenty staff dedicated to ousting the problem affecting the EPIC and Scarlet cameras, but Jannard can’t attach any sort of timescale to it; “The fix could be tomorrow” he suggests, “or not.”

[via Electronista]

RED keeps their promises, too. Promised earlier in the year that they would be showing off a functioning RED EPIC at NAB 2010, they’ve done just that. The professional camera took 13 seconds to actually boot up, but as soon as it did, the crazy goodness began. Meaning, it was perfectly capable of shooting at its 5K resolution, even if it wasn’t given a full test run at the showing.

That shouldn’t be a big deal for most, as RED has shown in the past that the RED EPIC’s upgraded sensor is fully capable of besting previous 4K camera’s –the RED ONE– light sensitivity. You can preorder the EPIC right now, if you’re an existing owner of a RED professional camera, and it’s still on schedule for a July launch this year. Anyone out there in the film industry going to pick one of the new cameras up? And are you going to trade in your old RED ONE to get the newer, better piece of equipment?

[via RED]

RED will also be showing off just what their cameras are capable of, bringing along a Sony 4K projector especially for that purpose.  There’ll also be RED footage film prints along with new accessories, post-production tools and some unnamed special guests.

Most recently, RED have revealed details of their Scarlet 2/3 camera, which is capable of 3k REDCODE RAW 120fps video recording (or scaled 720p/1080p 60fps recording) and is expected to arrive in buyers’ hands from May or June 2010.  However some EPIC cameras will ship later this year, though only to early testers.

[via Electronista]

Both bundles offer the same performance, namely 3k REDCODE RAW 120fps video recording (or scaled 720p/1080p 60fps recording), two 24-bit 48KHz independent microphone channels, and more still megapixels than you know what to do with.  There’s also a 3-axis motion sensor and GPS, remote control via WiFi and more.  RED have also revealed some new Mini Prime lenses, specially designed for use with the Scarlet 2/3, ranging from 6mm to 50mm and priced at $950.

The Scarlet 2/3 bundles are expected to go on sale in May or June 2010, though that could change depending on firmware schedules and the like.  RED have also been showing off their new Electronic ViewFinder (EVF) – which packs an internal heater for low-temperature shoots – the new RED STATION stackable storage module, and the REDMOTE PRO, an update to their existing control plate.  They’re also pushing out a new version of REDCINE-X, their software tool.

[via Akihabara]

Owners of the existing RED ONE camera now have seven options under the company’s “obsolescence obsolete” scheme, including upgrading to the Mysterium-X sensor for $4,500, up to $17,500 trade-in value toward an Epic “brain”, or a new, exclusive bundle.  This, the EPIC-X S35 Private Reserve package, will only be available to RED ONE owners, and include free modules together with being the first Epic’s shipped (at the end of Summer 2009).

Jim insists on putting all his press releases out as humongously long images, so check out here for full details.  New Scarlet and Epic “brain” specs are in the gallery below.

Jim Jannard of the company has described them both as “part of the same DSMC [Digital Still & Motion Camera] system”, meaning Scarlet and EPIC are each capable of being configured to shoot stills and video depending on camera ‘brain’ and body configuration.  Scarlet is available as four variants, from 3K up to 6K, while EPIC – described as the ‘Master Professional’ version – is available from 5K 1-100fps to 28K 1-25fps.

It’s tough to do justice to the full flexibility on offer here.  The images in the gallery below do a better job of explaining the individual specs of each component, together with the modular nature of the RED setup.  Jannard has confirmed that owners of the original RED ONE camera will still get their firmware update soon, but will also be able to jump the queue for a new EPIC or Scarlet with preferential pricing and trade-in options.  The first ‘brains’ will be available in Spring/Summer 2009.

Those dual cards can manage up to 100MB per second of REDCODE RAW HD video, and there are HMDI, HD-SDI, FireWire 800 and USB 2.0 sockets to make shuffling media around possible.  A 4.8-inch LCD serves to preview shots, and there’s also WiFi.

Apparently the camera will be compatible with RED ONE accessories, and it includes an 8x RED zoom lens.  Original suggestions were of an early-2009 release and sub-$3k price tag.

[via Engadget]