RED's new IPP2 workflow, which is supported in-camera with the latest RED DSMC2 bodies brings a lot to R3D workflows. One of the most important features is the ability to load a custom 33-sided 3D LUT in .cube format into the camera for viewing. In this blog, I show you two scenarios for on set and off set LUT creation.

RED has released no fewer than three 8K cameras since 2015. First was the full format WEAPON DRAGON VV (short for VistaVision), notably used by Henry Braham, BSC on Guardians of the Galaxy Vol. 2. Next came the EPIC-W and WEAPON HELIUM, both using RED's 8K S35 HELIUM sensor, which packed 8K of pixels into an area similar in size to the standard 3-perf Super35 format and provided a new level of noise performance, especially when scaled down to deliverable resolutions like UHD 3840x2160 or good old HD (1920x1080). Finally, last fall, RED released a replacement for that first 8K camera, incorporating the new sensor technology from their HELIUM chip, and dubbed it MONSTRO. But, aside from resolution, what are the advantages of these 8K sensors? One answer might surprise you: color.

The new EPIC-W GEMINI 5K S35 from RED utilizes a new sensor that has dual sensitivity modes for maximum flexibility. With the dual modes, users can select Gemini's Standard Mode for normal shooting environments or take advantage of the Low Light mode for those difficult darker scenes. In the Low Light mode, the camera's native ISO switches to 3200 as compared to the Standard Mode's 800 ISO.

Red Digital Cinema recently celebrated the 10-year anniversary of delivering the first RED ONE camera bodies into the eager hands of early adopters. As exciting as those early years were for the RED community, a number of judgements about the reality of working with files from these cameras have managed to stick with the company’s products even though times, hardware, and industry support for the RED ecosystem have changed a lot since those heady days – and for the better. Let’s take a look at some common misconceptions about working with RED cameras and footage that have persisted and do some “myth-busting.”

Everyone has an idea for their great passion project, but it takes a certain level of commitment to turn that idea into reality. For director and DP Alexander Hankoff, his short film Yellow was something he knew he wanted to make and it was his (along with his team's) creativity that made it possible.

Derek Frankowski is a director and cinematographer who has specialized in shooting sports and wildlife for commercial clients and documentaries for close to 20 years. For his latest project, Derek shot a commercial with the NHL's Vancouver Canucks. With the fast-paced nature of the NHL and action sports, Derek had to be prepared for any challenges that came his way. Derek was kind enough to discuss how he tackled some of these challenges and how he has been getting it done for all of these years.

Red Bull Media House is no stranger to epic footage. In one of their recent videos, Chain Reaction (which you can watch above), Director Nicholas Schrunk and his team had to find a way to capture multiple, specifically-timed stunts on a tight shooting schedule and in a remote location.

You've selected a lens family, but choosing which focal length to use for each shot is an art in itself. A few things to consider when choosing your focal length are: proximity of the camera to the subject, whether the camera is a character in the story or purely observational, and whether you'll be using the lens to control the subject's perspective and their relationship to the background.

Have you ever found yourself wondering about the image a particular camera and lens would produce? Well, if you have your phone on you, there's now an easy way to find out. DIRE Studio has released an app called Mark II Artist's Viewfinder, which has the ability to preview and capture hundreds of camera and lens combinations.