FOOTHILL RANCH, Calif.—RED DIGITAL CINEMA will make the IBC debut its large-format global shutter V-RAPTOR XL [X] and V-RAPTOR [X] cinema cameras at IBC 2024, Sept. 13-16, at the RAI Amsterdam Convention Center. 

The company also will demonstrate its new RED CINE-BROADCAST module, designed for broadcast and live event productions.

"RED is proud to be at the forefront of global shutter technology, and we're thrilled to present these advancements at IBC," said RED Digital Cinema CEO Keiji Oishi. "Our commitment to pushing the boundaries of image capture technology and bringing the RED cinematic look to broadcast is truly exciting. We can’t wait to connect with our friends and community at IBC, hear their insights and showcase how we're shaping the future of visual storytelling."

At IBC, attendees will have the chance to see the new V-RAPTOR [X] and V-RAPTOR XL [X] large-format cinema camera systems. RED Global Vision, powered by a global shutter sensor, offers the ability to shoot the most natural and organic imagery possible, the company said.

The Extended Highlights mode of Global Vision enables the camera to capture colors and details in extreme highlights more effectively, providing a smoother and more subtle highlight roll-off, even in challenging lighting conditions and uncontrollable environments. The V-RAPTOR systems excel in low-light circumstances, offering a dynamic range of more than 20 stops to capture subtle details and nuances while preserving color fidelity and accuracy, it said.

The new global shutter sensor includes Phantom Track dual-capture technology. This feature simplifies virtual production setups that use GhostFrame or frame-remapping by allowing the camera to capture two distinct scenes (R3D clips) with one camera. It also supports live monitoring of either view live on set, it said.

The new RED CINE-BROADCAST module is compatible with V-RAPTOR XL [X], V-RAPTOR [X] and standard V-RAPTOR and V-RAPTOR XL camera systems. The module unlocks live broadcast with up to two channels of 4K 60P (HDR/SDR) over 12G-SDI and is IP-broadcast ready with SMPTE ST 2110 (TR-08) and up to a 4K 60P JPEG-XS feed. The module features a LEMO SMPTE 311M/304M hybrid fiber optical cable connector, which connects to a rack mountable 2R full rack or a 4R half rack base station, it said. 

Broadcasters can unlock advanced workflows with slow-motion, AI/ML augmentation and live-to-headset using 8K 120FPS R3Ds by using RED’s license-enabled RED Connect feature. 

RED’s new Broadcast Color pipeline option for the DSMC3 camera lineup will enable live painting of RED cameras in broadcast or streaming environments and allow for on-demand adjustments and multi-camera color matching using traditional broadcast controls. The new firmware-enabled functionality 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.

See RED DIGITAL CINEMA at IBC 2024 Stands 8.MS14 and 11.C28.

More information is available on the company’s website.

LAS VEGAS—Technologists working on all aspects of the 8K media production chain offered an optimistic update at the 2024 NAB Show on the state of 8K in video production, indicating that significant advances are being made in capture, encoding, mastering and distribution. 

“We are seeing 8K being used further and further into the production process,” said Juan Reyes, director of operations, 8K Association, and moderator of the “8K Technology and Its Impact on the Production Process” panel at the NAB Show.

Those developments have been accompanied by newer consumer experiences including 8K displays on VR headsets like the Apple Vision Pro, and more content from live events. 

“If you look at the new types of displays like headsets coming into the market, 8K content is already being delivered to headsets for live events,” RED Digital Cinema CTO Uday Mathur said. “Some of our customers are already doing 8K for NBA games. Others are doing it for other types of live events and concerts. Those events are happening live, with [internet protocol video] delivered over the top, live out of the venue. So it’s not a large leap to think that 8K will be pervasive within a few years as hardware costs come down for televisions.”

Streamlined workflows for 8K live productions and improvements in codecs and video encoding have made it easier to deliver content over the public internet, panelists noted. “We did a concert a couple of months ago in 8K with [Japanese broadcaster] NHK,” Spin Digital CEO and co-founder Mauricio Alvarez-Mesa said. “It was streamed live in 8K to several locations … over the open internet. That shows we can do it now with the current technology.” 

Ravi Velhal, technology policy and standards, Intel Research agreed. “In terms of events, we have shown the end-to-end capability, glass-to-glass, with less than 2-second latency,” he said.

Added Reyes: “Some of the bit rates and the advancements in the encoding capabilities that we have today are down to the level of what we’re experiencing with 4K content. You know, historically, that was a big concern. How are we going to put so many pixels and what kind of bandwidth is everybody going to be needing to get it into the home?”

In addition to providing several examples of how encoding advances have reduced bandwidth requirements, Intel’s Velhal also pointed to similar improvements that have made 8K production much more economically viable. “Camera prices are coming down,” as are the costs for VFX and other parts of the production process, he said.

During the Paris Olympics a variety of Intel processors and technologies will be used on live 8K productions. 

IMAX chief product officer Abdul Rehman stressed the importance of creating an end-to-end 8K ecosystem. “We believe that producing 8K is really important in this day and age, and controlling the pipeline from content creation to playback is important to the experience,” he said.   

Though panelists acknowledged a lack of devices and the cost of producing and distributing content as ongoing roadblocks to 8K adoption, they also stressed the importance of further tech advances that allow producers to create new 8K experiences.

“We need to give the masses a reason to yearn for and look for an 8K experience,” IMAX’s Rehman said. “Achieving that will be a win for creators, a win for the folks who are providing the technology and a win for the consumers and display manufacturers. Once you start that loop and build that snowball effect, it will accelerate the whole process.”

LAS VEGAS—As more 8K sets and content hit the market, the 8K Association has announced it has assembled a group of senior technologies to discuss the latest developments in 8K technologies at the 2024 NAB Show. 

The panel will feature leading experts from across the industry discussing the key factors related to 8K technology - including the latest developments in capturing, encoding and content delivery - and their growing impact on the production community. 

The panel, which will be moderated by Juan Reyes, Director of Operations at the 8K Association, features Abdul Rehman, Chief Product Officer, IMAX Corp;  Ravi Velhal, Technology Policy and Standards, Intel Research; Uday Mathur, CTO, RED Digital Cinema; and Mauricio Alvarez-Mesa, CEO & co-founder, Spin Digital.  

The session will be held on Monday, April 15 from 12:15 to 12:45pm at the Connect Zone Theater located in the West Hall near Futures Park.

The 8K Association (8KA) has been organized to educate, promote and evangelize on the many aspects of the rapidly evolving 8K ecosystem. From content creation and production to distribution and consumer consumption, its mission is to ensure the 8K ecosystem thrives and to help to accelerate industry-wide adoption of 8K content, products, and services.

The 8K Association is composed of key technology companies in the consumer and professional 8K ecosystem. To accomplish our mission, the 8KA has established Work Groups to help provide information about the state of the 8K ecosystem to consumers, organizations, and standards development groups. 

More information about the 8K Association is available here.

More information on the panel and the panelists are available here. 

More information on the 2024 NAB Show is available here. 

FOOTHILL RANCH, Calif.—RED Digital Cinema has officially launched its KOMODO-X camera. the newest addition to RED’s popular KOMODO line of small form-factor 6K global shutter sensor cameras for cinema. 

KOMODO-X builds on the original KOMODO, multiplying frame rates and advancing dynamic range performance while expanding on the versatility of KOMODO, the company said. 

“We are excited to welcome the KOMODO-X into the new lineup of RED cameras, joining the original KOMODO and the rest of the DSMC3 family,” said RED president Jarred Land. “With its global shutter, increased frame rates and improved audio and power infrastructure, the KOMODO-X is our new all-around workhorse that fills a much-needed gap in our lineup between the 6K KOMODO and our mighty 8K V-RAPTOR.”

KOMODO-X features a next-generation 6K S35 Global Shutter sensor, expanding on the KOMODO image performance with architecture improvements that allow for increased low-light performance and double the frame rates at 6K 80P and 4K 120P, making KOMODO-X an even more powerful tool for filmmakers, the company said. 

KOMODO-X is currently being offered in a limited-edition white ST beta version for $9,995 via RED.com or through any of RED’s premium resellers. The black production version of KOMODO-X will be available to order at the same price shortly after the ST beta program ends. The black production version of KOMODO-X will be sold with options for a pre-bundled starter pack or production pack. 

"We are looking forward to sharing the groundbreaking KOMODO-X with our community of filmmakers and partners,” adds RED executive vice president Tommy Rios. “This newest addition to the KOMODO family will be available globally through our network of premium dealers and respected rental houses or at RED.com. KOMODO-X, V-RAPTOR, V-RAPTOR XL, and KOMODO are an incredibly powerful and versatile lineup for filmmakers, and it is going to be exciting to see what the community of RED users continues to create with them.” 

The company also reported that the KOMODO-X features improvements that allow it to be seamlessly integrated into any professional workflow while still maintaining the legacy of the small KOMODO form factor at only 4”x4”x5” and 2.62 lbs. 

The new I/O array features 12G SDI, full-sized DC-IN, USB Type-C, and a phantom powered locking audio connector. In addition, an integrated 2.9” LCD allows for simplified control and image preview, and for even more precise monitoring, KOMODO-X also supports the direct-mounted DSMC3 7” Touch LCD. 

The new system also shares many features with the flagship DSMC3 lineup, including compatibility with CFexpress, an integrated micro-V-Lock power plate, and a reinforced RF lens mount. The new micro V-lock power option allows for direct attachment of professional micro-V-Lock batteries without the need for adapters. Additional compatibility with the soon-to-be-released RED PRO I/O Module provides auxiliary power outputs and compatibility with full-sized batteries. The new module will be available when the production black version of KOMODO-X launches in V-lock or Gold Mount versions. In addition, a reinforced RF lens mount with locking mechanism on the KOMODO-X maintains the flexibility of switching between multiple lens mount types without a tool, while providing the stability and rigidity professionals need. KOMODO-X is fully compatible with /i PL lenses using the RED RF to PL adapters, the company reported. 

Additionally, KOMODO-X provides a robust platform for shooters working in IP-based workflows. With integrated USB Type-C connection and built-in Wi-Fi, there are multiple options to remotely control the camera using RED Control or RED Control Pro, as well as IP media offloading using FTPS or in-camera cloud uploading functionality. KOMODO-X also supports frame-accurate PTP synchronization or tri-level genlock sensor sync with the ability to offset on the fly to support multi-camera LED volume productions.

KOMODO-X supports RED Connect, a licensed feature that allows for live broadcasting of 6K images directly from the camera over IP, expanding RED’s cinematic imagery into boundless new uses. 

RED also announced multiple new accessories that are compatible with the new KOMODO-X system and other cameras in the RED lineup. These include:

• REDVOLT NANO-V ($275) 
• RED Compact Top Handle provides a compact handle solution for KOMODO-X users ($539) 
• RED KOMODO and V-RAPTOR RF to PL with Electronic ND Filter Adapter Packs are compatible with either the KOMODO systems or V-RAPTOR and integrates the same precise electronic ND control used in the V-RAPTOR™ XL into a robust PL mount solution. ($3,500) 
• KOMODO-X is also compatible with many original generation KOMODO accessories, including KOMODO Wing Grip and Outrigger Handle. 
• Customers can place orders starting today for the KOMODO-X ST, REDVOLT NANO-V batteries, RED Compact Top Handle, or the KOMODO or V-RAPTOR RF to PL w/ Electronic ND Filter Adapter Packs.
• The black KOMODO-X and its starter and production packs, the V-lock and Gold Mount versions of RED Pro I/O Module will all be available upon completion of the ST beta program.

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. 

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.

IRVINE, CA—Red Digital Cinema announced Nov. 29 availability of the DSMC2 Dragon-X 5K S35 camera and the early 2019 availability of the DSMC2 Production Module and DSMC2 Production Kit.

The DSMC2 Dragon-X relies on the same Dragon sensor used in many legacy Red cameras with a sensor board used to enhance image processing pipeline (IPP2) in camera. The DSMC2 Dragon-X offers 16.5 stops of dynamic range, 5K resolution up to 96fps in full format and 120fps at 5K 2.4:1. The camera supports 300MB/s data transfer speed and simultaneous recording of Redcode RAW and Apple ProRes or Avid DNxHD/HR.

The fully configured kit, which is priced at $19,500, includes: 

• 480GB Red Mini-Mag

• Canon lens mount

• Red DSMC2 Touch LCD 4.7-inch monitor

• Red DSMC2 Outrigger Handle

• Red V-Lock I/O expander

• Two IDX Duo-C98 batteries with VL-2X charger

• G-Technology ev Series Red Mini-Mag reader

• Sigma 18-35mm F1.8 DC HSM art lens, and

•  Nanuk heavy-duty camera case. 

By itself the DSMC2 Dragon-X is priced at $14,950.

Both the camera and kit are available on the company’s website or from Red authorized dealers.

The DSMC2 Production Module, priced at $4,750, includes the DSMC2 Production Module, production handle and production top plate. The DSMC Production Kit is priced at $6,500.

At the 26 EnergaCAMERIMAGE International Film Festival, RED Digital Cinema will present a seminar, “Pushing Color on NOW APOCALYPSE with Sandra Valde-Hansen.” The conversation will take place Nov. 14 at 13:30 in the Miejskie Centrum Kultury (MCK). The director of photography will elaborate on her approach to designing the visual world that she devised with creator-director Gregg Araki for his upcoming Starz series NOW APOCALYPSE, which is executive produced by Steven Soderbergh.

Set in Los Angeles, NOW APOCALYPSE is a coming-of-age comedy series that follows a group of friends as they explore their identity, sexuality and artistry. Valde-Hansen will dive deep into how they created a look of high-gloss fashion photography along with Araki’s penchant for super saturated pop colors. Shot with the RED MONSTRO 8K VV sensor, she will discuss how RED’s IPP2 workflow and LUT creation with her colorist helped her push the look of the show. She’ll reveal her thought process and explain the planning stages she went through in creating the series’ eye-catching images from preproduction all the way to final color.

Festival goers visiting RED’s stand in the Opera Nova Main Foyer will have the opportunity to get hands-on with the company’s latest DSMC2 MONSTRO 8K VV and DSMC2 GEMINI 5K S35 cameras.

Camerimage is the only annual film festival dedicated to the art of cinematography. The 2018 edition runs Nov. 10-17 in Bydgoszcz, Poland. Included among the several films screening this year that were shot on RED are the opening night presentation of “At Eternity’s Gate” shot by Benoit Delhomme, AFC; Paul Greengrass’ “22 July” lensed by Pål Ulvik Rokseth; and “The Terror” photographed by Kolja Brandt, Florian Hoffmeister, BSC, and Frank van den Eeden.

IRVINE, CA—RED Digital Cinema has introduced a new sensor for its RED EPIC-W that provides improved low-light performance. The GEMINI 5K S35 sensor leverages dual sensitivity modes to provide enhanced image quality whether in standard mode for well-lit conditions or low light mode for darker environments.

The GEMINI 5K S35 sensor’s exceptional low-light performance allows for cleaner imagery with less noise and better shadow detail, according to the company. Operators can easily switch between modes through the camera’s on-screen menu with no down time. The GEMINI 5K S35 sensor offers an increased field of view at 2K and 4K resolutions compared to the higher resolution HELIUM sensor. In addition, the sensor’s 30.72 mm x 18 mm dimensions allow for greater anamorphic lens coverage than with HELIUM or RED DRAGON sensors.

[Read: RED Announces New Monstro 8K VV Full-Frame Sensor]

Built on the compact DSMC2 form factor, the new camera and sensor combination captures 5K full format motion at up to 96 fps along with accelerated data speeds of up to 275 MBps. Additionally, it supports RED’s IPP2 enhanced image processing pipeline in camera. Like all of RED’s DSMC2 cameras, EPIC-W can shoot simultaneous REDCODE® RAW and Apple ProRes or Avid DNxHD/HR recording and adheres to RED’s dedication to OBSOLESCENCE OBSOLETE criteria that allows current RED owners to upgrade their technology as innovations are unveiled, as well as move between camera systems without having to purchase all new gear.

Beginning at $24,500, the new RED EPIC-W with GEMINI 5K S35 sensor is available for purchase at select RED Authorized Dealers globally and on RED.com. 

LAGUNA NIGUEL, CALIF.—In what it says is an effort to expand into broadcast and live production markets, Red Digital Cinema has set Digital Glue at its newest U.S. reseller. Red is a manufacturer of high-resolution 6K, 5K and 4K digital cameras.

Digital Glue provides equipment, integration and software development for the production and distribution of digital video. With the new partnership with Red, Digital Glue will offer end-to-end production technologies for live production needs.

IRVINE, CALIF. and BURLINGTON, MASS. —Red Digital Cinema and Avid announced that Avid DNxHR and Avid DNxHD recording formats will be coming to Red’s DSMC2 line of professional cameras. The line includes the Weapon, Scarlet-W and Red Raven models.

Avid DNxHR and Avid DNxHD are renowned for their ability to reduce storage and bandwidth requirements, and Avid DNxHD has been accepted by the Society of Motion Picture and Television Engineers as the foundation format for the VC-3 standard. Additionally, these formats offer seamless direct-to-edit experiences for professionals looking to keep the highest image quality possible, while leveraging the investments they’ve made in Avid in-house production systems.

The Avid DNxHR and Avid DNxHD formats will be added to the already impressive simultaneous recording capability that Red’s DSMC2 cameras currently offer via RedCode RAW and Apple ProRes formats. Avid DNxHR and Avid DNxHD will be made available via a free firmware upgrade in mid-2016.

HAUPPAUGE, N.Y.—MultiDyne has announced that its SilverBack 4K5 transceiver is now available and fully compatible with Red Digital Cinema’s Red Epic camera and Redcast module. The combination will offer support to a variety of live and studio production applications.

Red Epic with SilverBack 4K5

The Red Epic camera comes equipped with the Red 6K Dragon sensor, which capture more than 9x the pixels than traditional HD, according to the company. To accommodate this higher resolution, the SilverBack 4K5 provides power and five 3 Gb/s HD/SDI signal paths between the Epic camera and the base station.

This combination provides a flexible design with all the necessary communications, camera control, tally, data and other functions of a camera system. It can also interchange Red cameras with the same SilverBack transceiver, enabling signals to travel long distances over a SMPTE fiber cabling infrastructure.

The SilverBack 4K5 base station is a standard 1RU enclosure with LED status indicators for each signal, as well as a color LCD screen that displays system status and general health.