MELVILLE, N.Y.—In a notable example of Nikon’s push into video following its 2024 acquisition of RED Digital Cinema, Nikon has announced their first cinema camera made for filmmakers, the Nikon ZR.

"We aren't holding anything back – our first Nikon camera developed with RED has all the creative controls that filmmakers need, with features that have never been seen in this level of handheld cinema camera," said Fumiko Kawabata, senior vice president of marketing and planning, Nikon Inc. "The Nikon ZR is the camera that will challenge the established video market and will demonstrate Nikon's commitment to advancing the tools available to video production professionals."

The launch significantly heats up the competition between camera makers like Sony, Canon, ARRI and others who have long offered digital cinema cameras and highlights Nikon's intention of being a major player in the space.

More specifically, the ZR is an ultra-lightweight, relatively inexpensive full-frame camera priced at around $2,199 that features a number of tech synergies between Nikon’s expertise in optics and autofocus technologies and RED’s expertise in color science and cameras for cinematographers and high-end content producers.

It is the first camera in Nikon’s new Z Cinema series, a collection that Nikon said will meld the best technologies from both companies. Designed for emerging cinematographers and high-end content producers, the supremely capable Nikon ZR packs an unparalleled amount of professional video production features at a price that puts cinematic quality within reach for all types of filmmakers.

Nikon also stressed that the Nikon ZR offers a multitude of original and class-leading capture and workflow features never seen before in a camera at this price.

The new Nikon ZR can record up to 6K/60p (59.94p) and incorporates the new R3D NE1 RAW video file format with RED color science based on RED's popular R3D RAW codec, with 15+ stops2 of dynamic range.

This new codec uses color science and exposure standards of RED cameras to ensure accurate color matching, even for multi-cam shoots. The impressively huge 4 in. DCI-P3 LCD is bright enough to be used even in direct sunlight, while often eliminating the need for an external monitor.

Nikon also said it has class-leading audio capabilities such as 32-bit float audio from built-in and external microphones, plus OZO3 directional audio. The ZR also has 7.5 stops of built-in image stabilization (IBIS) and unlocks a whole new world of optical versatility, since the wide Nikon Z mount enables a large variety of lenses to be adapted using third-party lens adaptors.

The new ZR features a full-frame sensor for excellent depth of field and video quality and supports internal recording up to 12-bit RAW 6K/60p. This is the first camera to use the new 12-bit R3D NE RAW codec, a new RAW format which REDCODE RAW users will find familiar. By leveraging its broad 15+ stop dynamic range, it achieves well-balanced image quality from highlights to shadows. Support for Log3G10 and the REDWideGamutRGB gamut reproduces exposure standards and colors consistent with RED color science, with true RED color tonality, skin tone integrity and tonal roll-off – similar to the output of RED's cinema cameras such as the V-RAPTOR [X] and KOMODO-X. Two base ISO sensitivities are available, ISO 800 and ISO 64005, allowing users to choose the best option for a particular scene or situation such as bright daylight or low-light interior scenes. However, just like REDCODE RAW, ISO in R3D NE files is fully adjustable in post for maximum flexibility, Nikon reported.

Furthermore, users also have the option to shoot in N-RAW, ProRes RAW, and other formats to best suit their production and workflow. The camera also features a new view assist function which allows the user to store and select from up to ten LUTs in the camera. This will let the filmmaker preview the effect of the color grade in real time using the monitor. Three types of LUT data (17-point, 33-point, 65-point6) can be loaded into the camera. RED's Creative LUT Kit is available for free via the RED website here.

The ZR features a new Cinematic video mode, a user preset for those who want to easily enjoy the RED cinematic look with a faster workflow in less data-intensive non-RAW formats. Cinematic mode automatically adjusts the shutter angle to 180 degrees, changes the frame rate to 24 fps, and applies the RED Cine Bias Picture Control for gorgeous yet simple cinematic color. What's more, nine RED-curated cinematic Picture Controls based on RED creative LUTs will be available for free download via Nikon Imaging Cloud, expanding possibilities for more diverse imaging expression.

In announcing the camera, Nikon also touted its audio capabilities and the launch of a new ME-D10 is a 32-bit float shotgun microphone compatible with the new digital accessory shoe developed for the ZR.

Nikon is billing the ZR as the world's first cinema camera to support 32-bit float audio recording with both built-in and external microphones, as well as through the 3.5mm microphone jack. This unique ability enables the recording of clear, distortion-free sound from quiet to loud, without requiring on-location gain adjustment. It supports recording a wide range of sound sources, from interviews to live concerts, with maximum audio flexibility in post. The three high-performance mics built into the camera use Nokia's OZO Audio technology to realize cutting-edge audio recording.

The ZR is also the first Nikon camera to feature a digital accessory shoe, which enables two-way digital communication between the camera and compatible accessories, allowing for advanced functionality such as tally lamp and microphone LED control. Additionally, the camera can supply power directly to supported accessories, eliminating the need for separate batteries or cables. The newly designed rubber shoe cover provides excellent dust and drip resistance, ensuring reliable performance in a variety of shooting environments. Going forward, Nikon will collaborate with third-party accessory manufacturers to offer a wide range of solutions that meet the diverse needs of filmmakers.

Nikon also highlighted the impressive processing power of the EXPEED 7 image-processing engine installed in Nikon's flagship camera Z9 and AI technology that utilizes deep learning, enables more accurate subject detection and tracking for optimal image processing in accordance with the subject, scene and situation.

This makes capturing the intended subject with greater accuracy much easier, significantly expanding possibilities for film production. The camera also detects nine types of subjects automatically, including people, animals and vehicles. It even detects small faces occupying as little as 3% of the long side of the frame for precise focusing on distant human subjects. Users can also adjust AF speed and sensitivity to suit their creative style, enabling a slow rack for cinematic effect or fast-paced focus for action.

More information and specifications is available here.

FOOTHILL RANCH, Calif.—RED Digital Cinema will feature its Cine-Broadcast Module supporting live broadcast workflows during IBC2025, Sept. 12-15, at the RAI Amsterdam Convention Center.

RED’s Cine-Broadcast Module supports live broadcasting of up to two channels of 4K 60P (HDR/SDR) via 12G-SDI and IP-broadcast compliant with SMPTE ST 2110 (TR-08) and up to a 4K 60P JPEG-XS feed.

It features a robust LEMO SMPTE 311M/304M hybrid fiber optical cable connector linked to a rack-mountable 2U full rack or 4U half rack base station. The module offers advanced slow motion, AI/ML enhancements and real-time 8K 120fps R3D streaming through the RED Connect license-enabled feature, the company said.

RED will show its advanced broadcast color pipeline, which facilitates live painting of RED cameras in broadcast or streaming environments and allows for on-demand adjustments and multi-camera color matching using traditional broadcast controls. This latest functionality comes in a firmware update for RED’s V-RAPTOR XL and V-RAPTOR cameras and uses industry-standard RCPs to control painting parameters in real time over IP, while saving information per frame in the recorded file’s metadata, it said.

RED will showcase the Cine-Broadcast Module’s seamless integration with EVS’ XT-VIA live production server, which allows broadcasters to enhance their workflows with up to 4x super-slow-motion at 4K and 8x at 1080p, while simultaneously delivering two baseband channels. RED’s license-enabled RED Connect feature powers this capability, which allows IP live streaming of R3Ds and unlocks advanced workflows, including real-time AI/ML augmentation and live-to-headset using 8K 120FPS R3Ds, it said.

“The evolution of RED’s Cine-Broadcast solution is redefining creative flexibility in live production,” said Jeff Goodman, vice president of product management. “Producers can now harness the visual power of large-format, cinematic storytelling within live content workflows—without sacrificing speed, reliability or standards compliance. It’s a seamless addition to the traditional broadcast ecosystem, offering a suite of advanced IP-based solutions within a single, integrated product. Whether it’s for sports, concerts, or live events, the Cine-Broadcast system opens new creative possibilities for productions around the world.”

The company also will show its new RED V-RAPTOR [X] and KOMODO-X with Nikon’s premier Z Mount. The RED V-RAPTOR [X] features unmatched low-light performance, dynamic range, resolution, high frame rates, and an industry-leading 8K VV global shutter large-format sensor.

RED’s KOMODO-X features a 6K S35 global shutter sensor and frame rates at 6K 80P and 4K 120P in a form factor measuring only 4x4x5 inches and weighing 2.6 lbs.

See RED Digital Cinema at IBC2025 Stand 11.C20A.

More information is available on the company’s website.

FOOTHILL RANCH, Calif. —RED Digital Cinema will be showcasing its latest innovations at the National Association of Broadcasters (NAB) Show in Las Vegas, April 6–9.

During the show RED will be demonstrating its Cine-Broadcast solution live on the show floor and will be showing the all-new RED V-RAPTOR [X] and KOMODO-X with Nikon’s premier Z Mount. Nikon acquired RED last year as part of the company’s ongoing push into video.

RED reported that its advanced Cine-Broadcast Module is now available for productions worldwide.

Compatible with V-RAPTOR XL [X], V-RAPTOR [X] and standard V-RAPTOR and V-RAPTOR XL camera systems, the module supports live broadcasting of up to two channels of 4K 60P (HDR/SDR) via 12G-SDI and IP broadcasting compliant with SMPTE ST 2110 (TR-08) and up to a 4K 60P JPEG-XS feed. It features a robust LEMO SMPTE 311M/304M hybrid fiber optical cable connector linked to a rack-mountable 2U full rack or 4U half rack base station. The module further expands workflows with advanced slow motion, AI/ML enhancements, and real-time 8K 120FPS R3D streaming through the RED Connect license-enabled feature.

“RED is excited to share our groundbreaking Cine-Broadcast Module on the NAB show floor this year,” said RED CEO Keiji Oishi. “This innovative technology will enhance productions worldwide by seamlessly blending cinematic and live broadcast imagery.”

CBS Sports will be integrating the Cine-Broadcast Module into some of its productions, showcasing the high cinematic image quality of the RED camera systems.

RED’s demo at NAB will also feature the new advanced Broadcast Color pipeline, which enables live painting of RED cameras in broadcast or streaming environments and allows for on-demand adjustments and multi-camera color matching using traditional broadcast controls. This latest functionality, which comes in a firmware update for V-RAPTOR XL and V-RAPTOR cameras, utilizes industry-standard RCPs to control painting parameters in real time over IP while saving information per frame in the recorded file’s metadata.

RED is also presenting a newly available integration with EVS’ XT-VIA® live production server, which allows broadcasters to enhance their workflows with up to 4x super-slow-motion at 4K and 8x at 1080p, while simultaneously delivering two baseband channels through the RED Cine-Broadcast Module.

This capability is powered by RED’s license-enabled RED Connect feature, which enables IP live streaming of R3Ds and unlocks advanced workflows, including real-time AI/ML augmentation and live-to-headset using 8K 120FPS R3Ds. These advanced workflows are capable due to a close integration with NVIDIA GPUs, including the NVIDIA RTX 6000 Ada Generation GPU and NVIDIA L40S GPU for real-time image processing.

"The successful integration of RED’s cutting-edge cameras with our XT-VIA server expands the range of UHD high frame rate solutions available to the market,” said EVS product marketing manager Ignacio Revuelto. “This not only paves the way for cinematic quality cameras to elevate sports productions but could also accelerate the deployment of our LSM-VIA® system’s latest replay and zoom capabilities—delivering crystal-clear 1080p output from 4K sources. We’re excited to showcase these advancements at NAB and empower operators with even greater precision and creative flexibility.”

Another highlight will be the all-new RED V-RAPTOR [X] and KOMODO-X with Nikon’s premier Z Mount.

These new camera variants offer tremendous flexibility in lens selection and provide a comprehensive capture solution—from lens to sensor to codec. With a shallower flange depth and a wider diameter, the Nikon Z Mount enables lens designs with higher sharpness and superior aberration control. The Z lens delivers unrivaled low-light performance and edge-to-edge detail, as well as autofocus performance on both the V-RAPTOR [X] and KOMODO-X cameras.

RED’s V-RAPTOR [X] Z Mount features unmatched low-light performance, dynamic range, resolution, high frame rates, and an industry-leading 8K VV global shutter large-format sensor. RED’s KOMODO-X Z Mount features a 6K S35 global shutter sensor and frame rates at 6K 80P and 4K 120P, all in a form factor measuring only 4x4x5 inches and 2.6 lbs.

Conference-goers will also have the opportunity to see the latest RED Digital Cinema and Mark Roberts Motion Control (MRMC) bundled offering, which includes the powerful combination of the RED KOMODO-X and the MRMC SR-1 with power zoom lens that combines cutting-edge image and lens technologies with a highly controllable and precise pan-tilt-zoom system.

RED’s cameras and solutions will be on display at the following booths:

• NIKON, BOOTH #N2038
• MARK ROBERTS MOTION CONTROL, BOOTH #N2038
• B&H, BOOTH #N2439, N2427
• BROMPTON, BOOTH #N2949
• CHRISTIE DIGITAL SYSTEMS, BOOTH #SL5708
• CORE SWX, BOOTH #N2848
• EVS, BOOTH #SL3316
• GYRO-STABILIZED SYSTEMS, BOOTH #N2007
• INFILED, BOOTH #N1051
• INTOPIX, BOOTH #N2452
• KINO FLO LIGHTING SYSTEMS, BOOTH #N1059
• MILLER CAMERA, BOOTH #N1367
• MO-SYS USA, BOOTH #N3039
• NVIDIA & DELL, BOOTH #SL4616
• PIXERA, BOOTH #W3743
• PLANAR, BOOTH #N2629
• PORTKEYS, BOOTH #N1070
• ROE VISUAL, BOOTH #N2839
• SKAARHOJ, BOOTH #2900
• VERIZON, BOOTH #W2530

FOOTHILL RANCH, Calif.—Red Digital Cinema will make its V-RAPTOR [X] and KOMODO-X camera systems available with Nikon’s premier Z Mount, providing filmmakers with greater flexibility in lens choice and a complete capture solution from lens to sensor to codec.

“This marks the beginning of Red and Nikon’s collaborative products, and it is the exciting first step in a new Z Cinema Series,” Red Digital Cinema CEO Keiji Oishi said. “By integrating the Z Mount, Red is providing more lens choices than ever before, empowering filmmakers with greater artistic flexibility. This development grants filmmakers the versatility of Nikon’s innovative Z lineup and PL options, as well as access to F Mount glass and many popular vintage lenses.”

With a shallower flange depth and a wider diameter, the Nikon Z Mount enables lens designs with higher sharpness and superior aberration control. The Z lenses deliver superior low-light performance and edge-to-edge detail as well as autofocus performance on both the V-RAPTOR [X] and KOMODO-X cameras, the company said.

Red’s V-RAPTOR [X] Z MOUNT 8K VV global shutter large-format sensor camera system is available for a suggested retail price of $29,995.

Red’s KOMODO-X Z MOUNT 6K S5 global shutter camera system is available for a suggested retail price of $6,995.

Red also is introducing all-new Z-to-PL Adapter Packs, which provide a robust PL mount solution and added flexibility for V-RAPTOR [X] Z MOUNT and KOMODO-X Z MOUNT shooters. Currently, there are four different Z-to-PL Adapter Pack options:

• Red V-RAPTOR [X] Z to PL Adapter Pack ($1,500)
• Red V-RAPTOR [X] Z to PL with Electronic ND Adapter Pack ($3,500)
• Red KOMODO-X Z to PL Adapter Pack ($1,500)
• Red KOMODO-X Z to PL with Electronic ND Adapter Pack ($3,500)

Both the RF and the all-new Z mount versions of the V-RAPTOR [X] and KOMODO-X cameras, and Z to PL adapter packs are available now on RED.com or through Red Premium Dealers.

Filmmakers also now have the option to convert their RF mount versions of the V-RAPTOR [X] and KOMODO-X cameras to the new Z Mount systems. This transition costs $1,695 for the V-RAPTOR [X] and $1,595 for the KOMODO-X.

Red also has announced the return of its trade-in program, now available for the latest generation of Red cameras, including the new Z Mount models. Customers can trade in their existing Red DSMC, RAVEN, SCARLET-W, DSMC2 or RANGER cameras and receive a credit towards the purchase of a new, eligible Red V-RAPTOR XL [X] Pack or Red V-RAPTOR Pack [X] Pack, with either the new Z Mount or RF Mount.

More information is available on the company’s website.

Nikon Corporation announced on Thursday that it has completed its acquisition of RED.com, LLC (RED). Financial details were not disclosed. 

RED's President Jarred Land is now a “close Advisor” to the company, along with RED's founder James Jannard. Keiji Oishi, of Nikon's Imaging Business Unit, assumed the role of CEO and Tommy Rios, Executive Vice President of RED, moved into the role of Co-CEO.

Apart from the new leadership roles, Nikon said there  will be no changes to RED's current product lineup, partners, and relationship with the dealers. RED will continue to support its policies with warranties, repair services, customer services, and overall product support, Nikon said.

"Welcoming RED, a company that has been at the forefront of innovative technology, to the Nikon family is sure to expand the possibilities of imaging expression, and further delight the market with its innovation," comments Hiroyuki Ikegami, Executive Vice President and General Manager of Nikon's Imaging Business Unit. "Combining the best of both companies and working together to develop new, distinctive products, is our goal and for the brand to remain the choice for fans of Nikon and RED, and possibly reach out to an even wider audience."

"I believe it is my mission as the representative of RED to develop the market in a way that will pay respect to the corporate cultures of RED and Nikon," says RED CEO Keiji Oishi. "You can look forward to RED's future product development which will aim to meet and exceed the expectations of cinematographers around the world."

"We are the pioneer in digital cinematography, and the synergy with Nikon will only help us to continue to evolve," says RED Co-CEO Tommy Rios. "We'll continue to deliver cutting-edge technology that no one has ever seen before. We remain committed to working together with the RED dealers around the world."

Newly appointed RED Advisor James Jannard comments, "It is a proud moment for me to see RED, a brand that I have nurtured with passion for over 20 years, gain the opportunity to achieve new heights with the help of Nikon, a company that I also love."

RED Advisor Jarred Land shared his excitement, stating, "By joining the Nikon family, a company that is known for the advanced technology that it has been cultivated over many years, I am confident that RED will bring a new era to the professional digital cinema camera market. It is an honor to be a part of this new chapter."

TOKYO—Nikon is acquiring digital cinema camera manufacturer RED.com LLC for an undisclosed amount. 

Founded in 2005 by Jim Jannard, who previously founded Oakley, famous for its sunglasses, RED gained a reputation as a non-traditional outlier in the professional camera business given its rapid rise amid more traditional camera makers like Sony, Panasonic, Canon or even Grass Valley (which had acquired Philips cameras when purchased by Thomson). The question over whether Nikon was planning on entering the professional digital cinema camera market is not new—speculation has been around for several years now. 

Over its nearly 15 year existence, RED has introduced a number of industry-defining products such as the original RED ONE 4K to the cutting-edge V-RAPTOR [X] with its proprietary RAW compression technology. RED's contributions to the film industry have not only earned it an Academy Award but have also made it the camera of choice for numerous Hollywood productions.

“This agreement was reached as a result of the mutual desires of Nikon and RED to meet the customers’ needs and offer exceptional user experiences that exceed expectations, merging the strengths of both companies,” Nikon said in a statement. “Nikon's expertise in product development, exceptional reliability, and know-how in image processing, as well as optical technology and user interface along with RED’s knowledge in cinema cameras, including unique image compression technology and color science, will enable the development of distinctive products in the professional digital cinema camera market.”

LOS ANGELES—The production and distribution company Electric Entertainment has announced that they are currently filming the third season of “Leverage: Redemption” with the all new V-Raptor X camera from RED Digital Cinema.

This marks the second time that Electric has been the first to shoot a TV series with a recently released RED camera. In 2008, the first season of “Leverage” was shot on the RED One Camera. All four seasons of the series continued with the RED One Camera and Season five was shot using the RED Epic.

The V-Raptor X is the world’s first large format global shutter camera containing a new flagship DSMC3 system with RED Global Vision, a global shutter sensor and suite of tools for unprecedented flexibility and dynamic range.

“As one of the pioneers of digital cinematography, RED has empowered us to film and edit our content in-house with unparalleled quality,” explained Mark Franco, head of production at Electric Entertainment. “The new V-Raptor X is light, easy to use, and allows us to move effortlessly throughout our shoot. We are truly honored to be the first production company to use these latest technological advancements from RED on a TV series.”

After Electric’s initial collaboration with RED in 2008, they have since used the Company’s cameras for many of their TV series, including “Almost Paradise,” “The Librarians” and the entire “Leverage” series, which amounts to over 100 hours of content shot on RED.

“Dean, Mark and the entire Electric Entertainment team have been friends of the RED family since the RED ONE was revealed nearly two decades ago,” said RED Digital Cinema president Jarred Land. “Personally, Leverage is one of my favorite shows to watch. The history and all these connections make it even more exciting for everyone at RED that they are the first series to shoot on V-Raptor X."

Electric Entertainment’s “Leverage: Redemption” follows a Robin Hood-esque team of criminals as they stage elaborate cons against corrupt and powerful individuals on behalf of clients who have been wronged. Season 3 will premiere on Prime Video later this year and sees the return of starring characters played by Gina Bellman, Christian Kane, Beth Riesgraf, Aldis Hodge, Noah Wyle and Aleyse Shannon.

Dean Devlin, Marc Roskin, and Rachel Olschan-Wilson of Electric Entertainment are executive producers of “Leverage: Redemption.” John Rogers joins Season 3 as showrunner and executive producer. Chris Downey also serves as executive producer. Kate Rorick is a consulting producer.

FOOTHILL RANCH, Calif.—RED Digital Cinema has released the new V-RAPTOR [X] 8K VV and V-RAPTOR XL [X] 8K VV cameras with RED Global Vision. 

The new cameras feature the acclaimed low-light performance, dynamic range, resolutions, high frame rates and form factor of its V-RAPTOR predecessor. 

The V-RAPTOR [X] introduces RED Global Vision, which includes an all new 8K VV global shutter sensor, enabling innovative features including Extended Highlights and Phantom Track. Additionally, the V-RAPTOR [X] and V-RAPTOR XL [X] systems offer increased exposure times, a further optimized optical cavity and improved audio performance, the company said. 

The standard V-RAPTOR [X] is priced at $29,995, with the XL version at $44,995.

"Ever since our sensor team cracked the code for a no-compromise global shutter sensor design in the original KOMODO, customers have been pushing us hard to bring our global shutter technology to our large-format sensors, and today we are happy to deliver beyond our wildest expectations” said RED Digital Cinema President Jarred Land. “We are very proud to not only be at the forefront of global shutter technology but also to be the first company delivering large format global shutter cameras to filmmakers.

“Creating a global shutter sensor while maintaining dynamic range is almost impossible and then on top of that is the addition of an optional Extended Highlights mode,” he added. “It shows we are pushing image processing far past the limits that were once believed and exceeding 20 stops of dynamic range. V-RAPTOR [X] and V-RAPTOR XL [X] are the result of years of incredibly difficult work internally by our world leading engineers and from the ongoing collaborative work with preeminent partners who bring invaluable experience and perspective to the process from cinema technology to virtual production, volumetric capture and live sports.” 

RED Global Vision uses the global shutter sensor in V-RAPTOR [X] and V-RAPTOR XL [X] to open unprecedented capabilities, the company said. 

Global Vision’s Extended Highlights mode allows the camera to see color and detail into extreme highlights like never before, providing even softer and more subtle highlight roll-off when in uncontrollable environments, and an overall dynamic range of over 20 stops. Phantom Track dual-capture streamlines any virtual production environment employing GhostFrameTM or frame-remapping, capturing distinct R3D clips per LED wall view, as well as allowing for monitoring of either view live on-set over each SDI, the company said. 

The V-RAPTOR [X] compact body is built with the keystone features found in the original V-RAPTOR platform, now bolstered by newly engineered in-camera audio pre-amps and an optimized sensor cavity for improved contrast. The V-RAPTOR [X] has 2x 12G SDI’s, capable of unique monitoring views, a locking Canon RF style lens mount for rigid and flexible lens selection, and CFexpress Type B media for up to 800MB/s formats such as 8K at 120fps.

The V-RAPTOR XL [X] is designed to support high-end television and motion picture productions, as well as storytellers requiring an elite all-in-one solution. It features dual-voltage battery support compatible with a wide range of common batteries found on set today, including both 14 V batteries and high-voltage 26 V V-Lock or Gold Mount options. A premier feature remains the built-in electronic ND which allows cinematographers to precisely select their density in 1/4, 1/3, and full-stop increments, providing unrivaled control of exposure and depth of field.

The [X] sensor capabilities reach the exceptional frame-rate performance levels of the V-RAPTOR line even with its global shutter readout. Capturing 8K full sensor at up to 120 frames per second (150fps at 2.4:1), 6K up to 160 fps (200fps at 2.4:1), and 2K (2.4:1) at an incredible 600 frames per seconds. As with the other cameras in RED’s ecosystem, it harnesses RED’s proprietary REDCODE RAW codec, allowing users to capture 16-bit RAW and leveraging RED’s latest IPP2 workflow and color management tools.

Along with the introduction of these cameras, RED remains committed to its upgrade programs available for current V-RAPTOR and V-RAPTOR XL owners to advance into the [X] systems featuring RED Global Vision. Current V-RAPTOR and V-RAPTOR XL owners can upgrade directly via RED. The upgrade program is priced at $12,500 for both V-RAPTOR 8K VV and V-RAPTOR XL 8K VV customers.

“Fundamentally important sensor capabilities, Global Vision, internal ND filter, and improved audio, are all why the [X] camera is going to give storytellers in motion pictures and other high-end productions the images they desire," said RED executive vice president Tommy Rios. “We are thrilled to put these innovations into the hands of our users, and we are equally enthusiastic about our upgrade program for current DSMC3 V-RAPTOR and V-RAPTOR XL shooters, which should allow them to take advantage of these latest breakthroughs."

RED also announced all new accessories including the RED Compact EVF Pack and V-RAPTOR® Advanced V-Lock Plus & Gold Mount Adapter Plus battery adapters. The EVF Pack, currently available to order at $4,950 (standalone EVF: $3,450), is a single cable monitoring solution for all DSMC3 camera systems, featuring a 1080p micro-OLED display, and user assignable buttons to quickly access tools such as peaking and magnify or assignable to control the camera’s setting such as ISO, FPS and White Balance. 

The Advanced Adapter Plus, available soon for $1,768, will be sold with the V-RAPTOR Tactical Top Plate and includes all new features including a 6-Pin DC-IN port for continuous power to camera and auxiliary power outputs for additional flexibility and use with external power sources.

Additional information is available at www.RED.com. 

FOOTHILL RANCH, Calif.—RED Digital Cinema has launched the RED Connect Module for RED’s V-RAPTOR and V-RAPTOR XL cameras, enabling the cameras to support up to 8K live cinematic streaming.RED Connect allows users to real-time stream RAW R3D files direct from the V-RAPTOR and V-RAPTOR XL camera systems over IP to a camera control unit (CCU), opening an extraordinary range of creative applications from live broadcast to virtual production to true 8K VR, the company said. 

The RED Connect Module is a robust and turn-key solution for customers to access the wide-ranging capabilities of RED Connect. With a compact form-factor and easy connectivity, the module attaches securely to the back of the V-RAPTOR or V-RAPTOR XL via the camera’s V-Lock battery mechanism. The high-speed data connection is created by connecting the module to the camera’s CFexpress media slot. 

The module allows for live streaming of up to 8K at 120FPS or 4K at 240FPS, as well as all other frame rate and resolution combinations offered by the camera. It also supports simultaneous streaming and recording from the CCU. The module offers Genlock and timecode synchronization of multiple cameras using PTP (SMPTE ST 2059-2) and up to 10 Gbps connection via a single-mode LC connector.

“We are extremely excited to officially launch RED Connect and the new module,” said Jeff Goodman, RED Digital Cinema vice president of Product Management. “Live streaming of full-quality R3Ds over IP at every resolution and framerate, combined with RED’s sensor capabilities, creates an entirely new paradigm for content creation and broadcast. In early release testing, our customers have been blowing us away by what they have been able to produce. We’re excited to see what’s next creatively now that RED Connect’s flexible, open ecosystem is available to take content creation to the next level.” 

The RED Connect system extends the camera’s capabilities in virtual productions and new production environments such as live XR. Users can simplify their camera setup by reducing SDI cables, timecode and genlock devices, and other connections to a single ethernet cable to reduce points of failure. In the world of XR, users can stream 8K 60p content straight from the camera to any end device. The increased resolution pushes the visual experience into an entirely new immersive world, especially when viewed in a VR headset environment, according to RED. 

RED partners COSM, Media.Monks, and NVIDIA, have been deploying and testing RED Connect and the module in real-world applications over the past 18 months. 

"The opportunity to leverage uncompressed 8K end-to-end presents a tremendous opportunity for broadcasters, filmmakers and immersive video in particular," notes Lewis Smithingham, Media.Monks SVP of Innovation. "Uncompressed 8K delivers on the promise of VR, and when combined with stereo lensing, produces a sense of presence never experienced before."  

For varying use cases, the RED Connect Module can be deployed by adapting the CCU design. The flexibility of the CCU allows for real-time AI processing using RED’s SDK and NVIDIA professional GPUs for graphic intensive workflows with complete SMPTE 2110 implementation or options for one to two frames of latency for 8K and 4K IP broadcast and everything in-between.

The RED Connect Module is priced at $14,995, with RED Connect licenses available for one year or as a perpetual license. A one-month option will be available soon. Pricing for the RED Connect feature varies based on the length of licensing agreement. 

RED will showcase RED Connect with the module in the Microsoft booth (W1529) in the West Hall of the LVCC during the NAB Show, April 16-19 in Las Vegas. The demos will include live streaming of 8K60P to VR headsets enabled by Microsoft and Meta. 

FOOTHILL RANCH, Calif.—RED Digital Cinema has launched Super35 versions of V-RAPTOR 8K S35 and V-RAPTOR XL 8K S35 cameras, both featuring the company’s new S35 sensor.

The 8K S35 sensor has the same fast cinema-quality sensor scan time as its 8K VV counterpart, which is twice as fast as previous generations while maintaining a wide dynamic range with 16.5+ stops and coverage for Super 35mm lenses, the company said.

The V-RAPTOR 8K S35 also includes RED’s new integrated electronic ND system, which allows for control of density in 1/4, 1/3 and full stop increments, providing for what the company describes as never before seen exposure and depth of field control.

“The V-RAPTOR and XL have produced some of the best imagery I’ve seen, and now that performance is available to the filmmakers who prefer the Super35 format,” says RED Digital Cinema president Jarred Land.

The V-RAPTOR 8K S35 and V-RAPTOR XL 8K S35 can be ordered today directly via RED.com or through any of RED’s premium or authorized resellers. The standard V-RAPTOR 8K S35 is priced at $17,995, while the XL, which comes in either V-Lock or Gold Mount, is $34,995, it said.

By capturing the full 35 megapixels of 8K compared to the 20 megapixels of 6K, V-RAPTOR 8K S35 offers filmmakers the flexibility of 8K image capture while in the Super35mm format, it said.

The new systems are well-suited to a variety of productions, including wildlife, live events and traditional cinema. Wildlife and natural history shooters who often shoot hundreds of feet from their subjects will benefit from the V-RAPTOR 8K S35’s compact and flexible set-up while still allowing for wide-range zoom lenses, the company said.

The S35 V-RAPTOR systems are a solution for broadcast productions striving for more cinematic imagery in final delivery. The new 8K S35 sensor provides shallower depth of field, slow-motion playback and higher resolution in a format that supports a wide range of lenses, it said.

Both V-RAPTOR and V-RAPTOR XL are compatible with RED Connect, allowing for different framing to be pulled from a single camera position and controlled downstream for a more immersive production, it said.

The cameras will be available in pre-bundled packs, which allow customers to get shooting right away. The standard V-RAPTOR is available as a starter pack and as V-Lock and Gold Mount versions of a production pack, while the V-RAPTOR XL is available in both V-Lock and Gold Mount versions of the production pack, it said.

More information is available on the company’s website.

LOS ANGELES—Adobe has announced a significant expansion of the collaboration tools in the Adobe Creative Cloud and Document Cloud during its Adobe MAX conference.

“Creativity today is a team sport,” said Scott Belsky, chief product officer and executive vice president, Creative Cloud at Adobe. “The innovations we’re announcing today enable seamless collaboration throughout the creative process.”

During the event, Adobe previewed a new Camera to Cloud integrations built into RED Digital Cinema’s V-RAPTOR and V-RAPTOR XL camera systems and Fujifilm’s X-H25 mirrorless digital cameras to enable collaborative production workflows.

Adobe Camera to Cloud is used by more than 5,000 productions. Powered by Framie.io, it has fueled a transition from external drives to cloud-based camera workflows.

With Adobe Camera to Cloud, media is automatically transferred from the production set to the cloud so post-production teams can start work immediately on footage. 

The newly announced integrations streamline the process further by transferring media directly from cameras to organized Frame.io folder structures without the need for intermediate devices.

“The RED team is proud to build on our history of working with Frame.io, becoming the first cinema camera company to bring this groundbreaking advancement to the filmmaking community,” said Jarred Land, president and co-owner of RED Digital Cinema. “As we introduce this technology to deliver direct RAW and proxy files directly to edit via cloud, we are excited for users to start unlocking the benefits that cloud collaboration can bring to productions at all levels.”

The native integration with Fujifilm’s X-H25 mirrorless cameras “removes a huge time barrier” between production and post for videographers and photographers, said Masato Yamamoto, general manager of the Imaging Solutions Division at FUJIFILM.

“It’s not just groundbreaking; it’s game-changing. We’re honored to bring this technology to mirrorless digital camera users around the world, and we’re excited to see what comes next,” he said.

Other Adobe collaboration enhancements announced at the conference include new share and review collaborative capabilities for Adobe Photoshop and Adobe Illustrator (available in beta) and additional PDF collaboration and productivity enhancements.

More information is available on the company’s website.

LOS ANGELES—Seven companies have come together to form the Volumetric Format Association, dedicated to ensuring interoperability across the volumetric video ecosystem. The founding companies are Verizon, Zeiss, RED Digital Cinema, Unity, Intel, Nvidia and Canon.

Volumetric video is a new way to experience content in holographic 3D, giving the viewer a more immersive and interactive experience, VFA says. It is characterized by the process of simultaneously capturing content from multiple cameras, which can then be viewed from any angle at any point in time.

The goal of the VFA will be to facilitate collaboration, innovation and technology sharing to establish a collection of specifications that will help drive faster development, adoption and ecosystem growth.

As VFA members, the companies will be able to share intellectual property within the confines of the organization while protecting the value of that IP. The VFA Technical Steering Committee has defined four initial working groups to create the specifications, including Capture Acquisition, Interchange of Data, Decode & Render and Persistent Metadata.

"The Volumetric Format Association is leading the way in how content, especially in sports and M&E, is being presented, and we are seeing the biggest shift since B+W went to color" said Tian Pei, head of business affairs for sports at Unity. "Volumetric technologies encompass the process of capturing, viewing, and interacting with the real world and here at Unity we are pushing the limits of what's possible and transforming the interactive experience forever."

VFA is opening membership to other companies. For more information, visit www.volumetricformat.org.  

IRVINE, Calif.—RED Digital Camera is now offering its new Komodo 6K camera. The 4-cubic-inch form factor camera is designed for professional filmmakers and content creators seeking high-end visuals in a compact, versatile camera, for use with production tools like gimbals, drones, cranes, remote heads and more, the company says.

The Komodo can capture 6K at 40 fps, 6K WS at 50 fps and 4K at 60 fps. RED has also equipped the camera with an AC power adaptor 45W. It also has an RF to EF mechanical lens adapter, which enables it to work with EF, PL and other lens systems, including anamorphic lenses.

Other features include a phase-detect based autofocus control on the integrated, color LED touchscreen display; streamlined REDCODE RAW settings (HQ, MQ and LQ compression options); compatibility with CFAST 2.0 recording media; 4K SDI output; build-in wireless capabilities; connectivity through the new RED control app available now on iOS and soon on Android; and a Mini world travel adaptor kit.

There are a number of accessories that are also available to work with the Komodo camera. Among them are the Outrigger Handle, an Expander Module, a Wing Grip, Link Adaptor, RED CFast 2.0 Card Reader and RED Pro CFast 512GB.

RED is also launching two pre-bundled pack options for the Komodo. The Komodo Starter Pack ($7,200) includes the Wing Grip and RF to EF adapter with ND filter, media and media reader, and a PTap-to-power cable and timecode cable. Then there is the Komodo Production Pack ($8,200), which features everything from the Starter Pack, as well as additional production-level accessories like the Expander Module and Outrigger Handle.

RED is offering the Komodo 6K camera, by itself, for $5,995. For more information, visit www.red.com.  

SAN JOSE, Calif.—Red’s patented process for compressing digital video so footage can remain as high-quality as possible, which is part of its Redcode codec, is coming under fire from Apple.

Apple filed a petition against the patent in May of this year, arguing that Red simply combined previously developed processes resulting in nothing novel, and therefore not protectable. This would allow for Apple—which currently has to pay a fee to Red to use the technology for its own ProRes Raw technology—and other companies to use the technology without paying a fee.

Red recently came back disputing Apple’s petition, saying that the process for its technology was first discussed in 2005 and developed for the Red One Cinema Camera in 2007.

Sony has previously attempted a similar lawsuit against Red in 2013, but it was defeated.

Read the full story at Digital Camera World.

RED DIGITAL CINEMA today introduced a new DSMC2GEMINI® Kit offering a comprehensive solution for cinematographers who shoot in a variety of environments.

At the heart of the new system is the DSMC2 camera BRAIN with the GEMINI 5K S35 sensor, which leverages dual sensitivity modes to provide greater flexibility in a variety of lighting conditions. Filmmakers can shoot in standard mode for well-lit conditions or low-light mode for darker settings, and operators can easily switch between modes through the camera’s on-screen menu with no down time. RED’s GEMINI delivers incredible dynamic range and produces cinematic quality images.

The new DSMC2 GEMINI Kit features:

· DSMC2 GEMINI 5K S35
· DSMC2 RED Touch 7.0” LCD
· DSMC2 Outrigger Handle
· DSMC2 V-lock with I/O Expander for a variety of input/output selections
· S35 AI CANON Mount
· IDX Duo C98 Battery and IDX VL-2X Battery Charger
· RED Mini-Mag (960 GB) with G-Technology EV Series Reader
· Heavy-Duty Camera Case

The kit provides a premium bundle that is “ready to shoot” when paired with the user’s chosen lens. The newly packaged system is available for purchase on RED.com and RED Authorized Dealers priced at $27,500/£21,700/€24,950. 

RED Digital Cinema released its RED R3D SDK and accompanying REDCINE-X PRO software with accelerated decode and debayering on NVIDIA CUDA platforms. By offloading the compute-intensive decoding and debayering of RED R3D files onto one or more NVIDIA GPUs, real-time playback, edit and color grade of 8K footage is now possible.

Benefits and efficiencies of this new software-hardware combination during the post-production process include:

· 8K real-time 30 fps or greater playback performance
· Up to 10x faster transcoding, depending on the format and content
· Improved efficiencies and quality control within the content review process
· Creative freedom using flexible R3D files instead of proxy files

8K performance is available with NVIDIA Quadro RTX™ 6000 and 8000, GeForce RTX™ 2080 Ti and TITAN RTX™ GPUs when coupled with a moderately configured PC. Creators can achieve additional performance improvements with multi-GPU configurations and may see noticeable gains even with older NVIDIA GPUs. Also, new NVIDIA RTX laptops from the world’s leading computer manufacturers, including Razer, Acer, Alienware, ASUS, Dell, Gigabyte, HP, Lenovo, MSI and Samsung, provide real-time playback at up to 8K and offer flexibility in choosing the right tools to fit a variety of budgets.

Support from major NLEs and other SDK integrators is expected soon.

Even as NASA’s InSight Lander is hard at work 33.9 million miles way on Mars, members of its imaging and educational team will be working just as hard a bit closer to home.

A group of NASA engineers, imaging specialists and distance learning leaders will descend on the Government Video Expo this year to talk about the kind of work the space and aeronautical agency is doing when it comes to advances and experiments in imaging.

Sessions and keynote addresses delivered by experts from NASA are sprinkled across the agenda at this week’s show, including an insider’s look at the agency’s most recent high-definition challenge: recording and broadcasting video in 8K from the International Space Station.

[Read: Space Station Goes 8K]

At the Wednesday morning session titled “NASA’s Imaging Experiments and Advances,” NASA Imagery Experts Program Manager Rodney Grubbs will discuss how astronauts from NASA and the European Space Agency are recording in 8K their efforts to advance DNA sequencing, study space-grown vs Earth-grown plants, and shoot off indoor water jets. Video is being shot via a Helium 8K camera by digital camera company Red. Viewers are taken on a guided tour of the space station — as it orbits the planet at 17,000 mph — and get a glimpse of the station’s subzero space freezer and giant robotic outdoor arm.

“This new footage showcases the story of human spaceflight in more vivid detail than ever before,” said Dylan Mathis, communications manager for the International Space Station Program when the first 8K video was released in November. “The world of camera technology continues to progress, and seeing our planet in high fidelity is always welcome.”

NASA continues the conversation when the NASA Goddard Space Flight Center’s Office of Education shares insider knowledge on how the agency uses instructional design models and different distance-learning technologies to facilitate virtual learning.

In the Wednesday session “NASA Goddard Distance Learning Models,” leaders of the agency’s distance learning and educational arm will give a preview of ADDIE, a framework for instructional design that NASA uses. Members of the Goddard team will talk about how ADDIE is implemented at NASA and how it is being paired with other learning models — such as webinar platforms, learning management system and videoconferencing — and how this helps the agency facilitate meaningful learning.

On Thursday, NASA will offer attendees a closer look at how it connects with its viewership in the session “Digital Engagement: How NASA Does Video.” The agency has 21 million followers on its digital platforms and retains their interest with a constantly updated series of videos, images, profiles and interviews.

Take the recent Mars landing, for example, where the world watched along with NASA engineers as they endured the so-called seven minutes of terror — the seven minutes that would determine whether the InSight Mars lander would land successfully on the Red Planet and send back images to Earth. After a journey of more than six months, the NASA InSight lander returned its first image from the surface of Mars. NASA gave viewers a 360-degree minute-by-minute view of the Mission Control Center as NASA engineers watched for word and showed viewers the first images via an instrument context camera mounted on the lander.

At this Thursday afternoon session at the GV Expo, NASA representatives will look at how the agency engages its digital audience into science and engineering topics — including live video, replays, 360-degree views, high-res illustrations, and recorded video and audio from the International Space Station.

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IRVINE, CALIF.—RED Digital Cinema today announced Monstro 8K VV, a new cinematic full-frame sensor for Weapon cameras offering image quality improvements, such as dynamic range and shadow detail, the company said.

Combined, the new camera and sensor, which is called the Weapon 8K VV, provides full-frame lens coverage and can capture 8K full format motion at up to 60 fps. The pair produces 35.4 megapixel stills and supports up to 300 MB/s data speeds.

The Weapon camera shoots REDCODE RAW and Apple ProRes or Avid DNxHD/HR simultaneously like all other RED DSMC2 cameras.

The new Weapon camera costs $79,500 for the camera Brain. Upgrades for owners of carbon fiber Weapon cameras are available for $29,500.

The Monstro 8K VV will replace the Dragon 8K VV in RED’s lineup. Those who have previously ordered a Dragon 8K VV will be offered the new sensor beginning today, the company said. New orders will begin being filled in early 2018, it added.

RED also has announced the RED Armor-W service offering for all carbon fiber Weapon owners. It extends protection beyond the RED Armor service plan and includes one sensor swap per year.

 More information is available on the RED website.

LAKE FOREST, CA.—RED cinema, makers of high-end cinema cameras, have surprised everyone by unveiling an Android smartphone—with a glasses-free holographic display. The product is called Hydrogen One and looks to be the introductory technology for a whole proprietary "Hydrogen" ecosystem.

RED Hydrogen One

Announced yesterday, the tech details of the Hydrogen One are still obscure. The multi-band Androoid phone will have a 5.7in screen which, according to the company, uses nanotechnology to easily switch from displaying 2D content, holographic multi-view content, 3D content and interactive games.

What "holographic" content literally means is not completely spelled out. One assumes it means a kind of glasses free 3D, some low-resolution and examples of which were trialled a couple years ago. Dropping the expression "retina-riveting" into its press release, suggests a thrown down with Apple for screen resolution.

With the phone, RED is introducing a new proprietary 3D image format, called .h4v. This .h4v format looks to be cornerstone of the company's future plans to promote 3D/holographic content. 

HYDROGEN AUDIO

RED is also incorporating spatial sound in the design. Always fond of bellicose imagery, the company declares that the smartphone's audio will "assault your senses."

"Embedded in the OS is a proprietary H3O algorithm that converts stereo sound into expansive, multi-dimensional audio," said the company. "Think 5.1 on your headphones...The difference this makes would be enough to justify the entire system."

THE NEW HYDROGEN ECOSYSTEM

RED made its name by introducing high-tech modularity into its camera designs, and the Hydrogen One looks to be just one module in a larger technology solution. The company said that the phone is "the foundation of a future multi-dimensional media system" and the "control centre for the Hydrogen system."

The phone incorporates a high-speed data bus which will allow future attachments for shooting higher quality imagery, including Hydrogen format holographic images. The phone can be integrated with all of Red's high end cinema cameras.

RED is also creating a channel for distributing its holographic content. Content, inlcuding video content, games and apps, in the .h4v format can be uploaded, downloaded and streamed.

ORDER ONE NOW?

The Hydrogen One is available for pre-order now. The phone comes in two versions, Aluminum and Titanium (the elements from which each version is made, we assume). RED will not guarantee these prices at the time of release.

But what's the most noteworthy thing about Red's Hydrogen One? One of the world's premiere camera manufacturers has created a media-centric smart phone—and hasn't mentioned anything about the camera in it.

Unless RED wants us all to buy our own Red 8K cinema camera, there's probably more to come.

From TV Tech Global

IRVINE, CALIF.—Red Digital Cinema rolled out its Red Raven 4K camera last week. Weighing 3.5 pounds, Red Raven is Red’s lightest, most compact camera. Pricing that starts at $5,950 for the camera Brain only, and complete packages under $10,000.

Red Raven is equipped with a 4K Red Dragon sensor, and is capable of recording RedCODE RAW (R3D) in 4K at up to 120 fps and in 2K at up to 240 fps, and is capable of recording RedCODE RAW and Apple ProRes simultaneously.

Red fans can buy the Raven Brain only and building a kit, or choose a complete package. The Red Raven Base I/O represents the complete package, while the Red Raven Jetpack is designed for use with handheld gimbals, drones, jibs and cranes.

The Red Raven Brain is $5,950, with a $500 deposit, and ships February 2016

The Red Raven Jetpack package is $9,750, with a $1,000 deposit, and also ships February 2016. The package includes a Red Raven Brain, Jetpack, battery belt clip, Red Mini-Mag 120 GB, 4.7-inch LCD, AC power adaptor, and DSMC2 outrigger handle.

The Red Raven I/O package goes for $9,950, with a $1,000 deposit, and ships March 2016. It includes a Red Raven Brain, base I/O V-lock expander, Red Mini-Mag 120 GB, 4.7-inch LCD, AC power adaptor, and DSMC2 outrigger handle.