During the NAB show, Quantum introduced its new F-Series NVMe storage arrays designed for performance, availability and reliability. Using non-volatile memory express (NVMe) Flash drives for ultra-fast reads and writes, the series supports massive parallel processing and is intended for studio editing, rendering and other performance-intensive workloads using large unstructured datasets.
Incorporating the latest Remote Direct Memory Access (RDMA) networking technology, the F-Series provides direct access between workstations and the NVMe storage devices, resulting in predictable and fast network performance. By combining these hardware features with the new Quantum Cloud Storage Platform and the StorNext file system, the F-Series offers end-to-end storage capabilities for post houses, broadcasters and others working in rich media environments, such as visual effects rendering.
The first product in the F-Series is the Quantum F2000, a 2U dual-node server with two hot-swappable compute canisters and up to 24 dual-ported NVMe drives. Each compute canister can access all 24 NVMe drives and includes processing power, memory and connectivity specifically designed for high performance and availability.
The F-Series is based on the Quantum Cloud Storage Platform, a software-defined block storage stack tuned specifically for video and video-like data. The platform eliminates data services unrelated to video while enhancing data protection, offering networking flexibility and providing block interfaces.
According to Quantum, the F-Series is as much as five times faster than traditional Flash storage/networking, delivering extremely low latency and hundreds of thousands of IOPs per chassis. The series allows users to reduce infrastructure costs by moving from Fiber Channel to Ethernet IP-based infrastructures. Additionally, users leveraging a large number of HDDs or SSDs to meet their performance requirements can gain back racks of data center space.
The F-Series is the first product line based on the Quantum Cloud Storage Platform.
Red Digital Cinema has made its new Red Ranger all-in-one camera system available to select Red authorized rental houses. Ranger includes Red’s cinematic full-frame 8K sensor Monstro in an all-in-one camera system, featuring three SDI outputs (two mirrored and one independent) allowing two different looks to be output simultaneously; wide-input voltage (11.5V to 32V); 24V and 12V power outs (two of each); one 12V P-Tap port; integrated 5-pin XLR stereo audio input (Line/Mic/+48V Selectable); as well as genlock, timecode, USB and control.
Ranger is capable of handling heavy-duty power sources and boasts a larger fan for quieter and more efficient temperature management. The system is currently shipping in a gold mount configuration, with a v-lock option available next month.
Ranger captures 8K RedCode RAW up to 60fps full-format, as well as Apple ProRes or Avid DNxHR formats at 4K up to 30fps and 2K up to 120fps. It can simultaneously record RedCode RAW plus Apple ProRes or Avid DNxHD or DNxHR at up to 300MB/s write speeds.
To enable an end-to-end color management and post workflow, Red’s enhanced image processing pipeline (IPP2) is also included in the system.
Ranger ships complete, including:
• Production top handle
• PL mount with supporting shims
• Two 15mm LWS rod brackets
• Red Pro Touch 7.0-inch LCD with 9-inch arm and LCD/EVF cable
• LCD/EVF adaptor A and LCD/EVF adaptor D
• 24V AC power adaptor with 3-pin 24V XLR power cable
• Compatible Hex and Torx tools
SGO has integrated AJA‘s Kona 5 audio and video I/O cards into its full finishing and workflow solution Mistika Ultima, providing simplified and optimized 8K production for broadcast clients.
The new Mistika Ultima 8K System provides a realtime finishing workflow for 8K full UHD at 60p, even with uncompressed formats. It is comprised of an AJA Kona 5 card with 12G-SDI I/O connectivity, Mistika Ultima software, an HP Z8 workstation, a high-performance SGO storage solution, and other industry-standard hardware.
Kona 5 is a high-performance eight-lane PCIe 3.0 capture and output card featuring 12G-SDI I/O and HDMI 2.0 output. For OEM partners, the card is supported on AJA’s SDK for Mac OS, Windows and Linux, offering advanced features such as 8K and multi-channel 4K. Kona 5 is also compatible with creative tools such as Adobe Premiere Pro, Apple Final Cut Pro X and Avid Media Composer, via AJA’s proven Mac OS and Windows drivers and application plug-ins. Kona 5 enables simultaneous capture with signal passthrough when using 12G-SDI, and offers HDMI 2.0 output, as well as deep-color and multi-format HDR support.
There were two announcements last week that will impact post production workflows. The first was the launch of Red’s new SDK, which leverages Nvidia’s GPU-accelerated CUDA framework to deliver realtime playback of 8K Red footage. I’ll get to the other news shortly. Nvidia was demonstrating an early version of this technology at Adobe Max in October, and I have been looking forward to this development since I am about to start post on a feature film shot on the Red Monstro camera. This should effectively render the RedRocket accelerator cards obsolete, replacing them with cheaper, multipurpose hardware that can also accelerate other computational tasks.
While accelerating playback of 8K content at full resolution requires a top-end RTX series card from Nvidia (Quadro RTX 6000, Titan RTX or GeForce RTX 2080Ti), the technology is not dependent on RTX’s new architecture (RT and Tensor cores), allowing earlier generation hardware to accelerate smooth playback at smaller frame sizes. Lots of existing Red footage is shot at 4K and 6K, and playback of these files will be accelerated on widely deployed legacy products from previous generations of Nvidia GPU architecture. It will still be a while before this functionality is in the hands of end users, because now Adobe, Apple, Blackmagic and other software vendors have to integrate the new SDK functionality into their individual applications. But hopefully we will see those updates hitting the market soon (targeting late Q1 of 2019).
Encoding ProRes on Windows via Adobe apps
The other significant update, which is already available to users as of this week, is Adobe’s addition of ProRes encoding support on its video apps in Windows. Developed by Apple, ProRes encoding has been available on Mac for a long time, and ProRes decoding and playback has been available on Windows for over 10 years. But creating ProRes files on Windows has always been a challenge. Fixing this was less a technical challenge than a political one, as Apple owns the codec and it is not technically a standard. So while there were some hacks available at various points during that time, Apple has severely restricted the official encoding options available on Windows… until now.
With the 13.0.2 release of Premiere Pro and Media Encoder, as well as the newest update to After Effects, Adobe users on Windows systems can now create ProRes files in whatever flavor they happen to need. This is especially useful since many places require delivery of final products in the ProRes format. In this case, the new export support is obviously a win all the way around.
Now users have yet another codec option for all of their intermediate files, prompting another look at the question: Which codec is best for your workflow? With this release, Adobe users have at least three major options for high-quality intermediate codecs: Cineform, DNxHR and now ProRes. I am limiting the scope to integrated cross-platform codecs supporting 10-bit color depth, variable levels of image compression and customizable frame sizes. Here is a quick overview of the strengths and weaknesses of each option:
ProRes was created by Apple over 10 years ago and has become the de-facto standard throughout the industry, regardless of the fact that it is entirely owned by Apple. ProRes is now fully cross-platform compatible, has options for both YUV and RGB color and has six variations, all of which support at least 10-bit color depth. The variable bit rate compression scheme scales well with content complexity, so encoding black or static images doesn’t require as much space as full-motion video. It also supports alpha channels with compression, but only in the 444 variants of the codec.
Recent tests on my Windows 10 workstation resulted in ProRes taking 3x to 5x as much CPU power to playback as similar DNxHR of Cineform files, especially as frame sizes get larger. The codec supports 8K frame sizes but playback will require much more processing power. I can’t even playback UHD files in ProRes 444 at full resolution, while the Cineform and DNxHR files have no problem, even at 444. This is less of concern if you are only working at 1080p.
Multiply those file sizes by four for UHD content (and by 16 for 8K content).
Cineform, which has been available since 2004, was acquired by GoPro in 2011. They have licensed the codec to Adobe, (among other vendors) and it is available as “GoPro Cineform” in the AVI or QuickTime sections of the Adobe export window. Cineform is a wavelet compression codec, with 10-bit YUV and 12-bit RGB variants, which like ProRes support compressed alpha channels in the RGB variant. The five levels of encoding quality are selected separately from the format, so higher levels of compression are available for 4444 content compared to the limited options available in the other codecs.
It usually plays back extremely efficiently on Windows, but my recent tests show that encoding to the format is much slower than it used to be. And while it has some level of support outside of Adobe applications, it is not as universally recognized as ProRes or DNxHD.
DNxHD was created by Avid for compressed HD playback and has now been extended to DNxHR (high resolution). It is a fixed bit rate codec, with each variant having a locked multiplier based on resolution and frame rate. This makes it easy to calculate storage needs but wastes space for files that are black or contain a lot of static content. It is available in MXF and Mov wrappers and has five levels of quality. The top option is 444 RGB, and all variants support alpha channels in Mov but uncompressed, which takes a lot of space. For whatever reason, Adobe has greatly optimized DNxHR playback in Premiere Pro, of all variants, in both MXF and Mov wrappers. On my project 6Below, I was able to get 6K 444 files to playback, with lots of effects, without dropping frames. The encodes to and from DNxHR are faster in Adobe apps as well.
So for most PC Adobe users, DNxHR-LB (low bandwidth) is probably the best codec to use for intermediate work. We are using it to offline my current project, with 2.2K DNxHR-LB, Mov files. People with a heavy Mac interchange may lean toward ProRes, but up your CPU specs for the same level of application performance.
Mike McCarthy is an online editor/workflow consultant with 10 years of experience on feature films and commercials. He has been involved in pioneering new solutions for tapeless workflows, DSLR filmmaking and multi-screen and surround video experiences. Check out his site.
Nvidia has introduced its new Nvidia Titan RTX, a desktop GPU that provides the kind of massive performance needed for creative applications, AI research and data science. Driven by the new Nvidia Turing architecture, Titan RTX — dubbed T-Rex — delivers 130 teraflops of deep learning performance and 11 GigaRays of raytracing performance.
Turing features new RT Cores to accelerate raytracing, plus new multi-precision Tensor Cores for AI training and inferencing. These two engines — along with more powerful compute and enhanced rasterization — will help speed the work of developers, designers and artists across multiple industries.
Designed for computationally demanding applications, Titan RTX combines AI, realtime raytraced graphics, next-gen virtual reality and high-performance computing. It offers the following features and capabilities:
• 576 multi-precision Turing Tensor Cores, providing up to 130 Teraflops of deep learning performance
• 72 Turing RT Cores, delivering up to 11 GigaRays per second of realtime raytracing performance
• 24GB of high-speed GDDR6 memory with 672GB/s of bandwidth — two times the memory of previous-generation Titan GPUs — to fit larger models and datasets
• 100GB/s Nvidia NVLink, which can pair two Titan RTX GPUs to scale memory and compute
• Performance and memory bandwidth sufficient for realtime 8K video editing
• VirtualLink port, which provides the performance and connectivity required by next-gen VR headsets
Titan RTX provides multi-precision Turing Tensor Cores for breakthrough performance from FP32, FP16, INT8 and INT4, allowing faster training and inference of neural networks. It offers twice the memory capacity of previous-generation Titan GPUs, along with NVLink to allow researchers to experiment with larger neural networks and datasets.
Titan RTX accelerates data analytics with RAPIDS. RAPIDS open-source libraries integrate seamlessly with the world’s most popular data science workflows to speed up machine learning.
Titan RTX will be available later in December in the US and Europe for $2,499.
The ARRI Group has named Dr. Michael Neuhaeuser as the new executive board member responsible for technology. He succeeds Professor Franz Kraus, who after more than 30 years at ARRI, joins the Supervisory Board and will continue to be closely associated with the company. Neuhaeuser starts September 1.
Kraus, who has been leading tech development at ARRI for the last few decades, played an essential role in the development of the Alexa digital camera system and early competence in multi-channel LED technology for ARRI lighting. During Kraus’ tenure at ARRI, and while he was responsible for research and development, the company was presented with nine Scientific and Technical Awards by the Academy of Motion Picture Arts and Sciences for its outstanding technical achievements.
In 2011, along with two colleagues, Kraus was honored with an Academy Award of Merit, an Oscar statuette for the design and development of the digital film
recorder, the ARRILASER.
Neuhaeuser, who is now responsible for technology at the ARRI Group, previously served as VP of automotive microcontroller development at Infineon Technologies in Munich. He studied electrical engineering at the Ruhr-University Bochum, Germany, and subsequently completed his doctorate in semiconductor devices. He brings with him 30 years of experience in the electronics industry.
Neuhaeuser started his industrial career at Siemens Semiconductor in Villach, Austria, and also took over leadership development at Micram Microelectronic in Bochum. He joined Infineon Technologies in 1998, where he performed various management functions in Germany and abroad. Some of his notable accomplishments include being responsible for the digital cordless business since 2005 and, together with his team, having developed the world’s first fully integrated DECT chip. In 2009, he was appointed to VP/GM at Infineon Technologies Romania in Bucharest where, as country manager, he built up various local activities with more than 300 engineers. In 2012, he was asked to head up the automotive microcontroller development division for which he and his team developed the highly successful Aurix product family, which is used in every second car worldwide.
Main Image: L-R: Franz Kraus and Michael Neuhaeuser.
Assimilate is now offering Scratch Play Pro, which includes a universal professional format player, immersive media player, look creator (with version management), transcoder and QC tool.
Play Pro is able to play back most formats, such as camera formats (including Raw), deliverable formats of any kind, as well as still frame formats. You can also show the image in full screen on a second/output display, either attached to the GPU or through SDI video-IO (AJA, Blackmagic, Bluefish444). Users also have the ability to load and play as much media as they can store in a timely manner.
Part of Play Pro is the Construct (timeline) environment, a graphical media manager that allows users to load and manage stills/shots/timelines. It runs on Windows or OS X.
As an immersive video player, Play Pro supports equirectangular 360, cubic/cubic packed 360, 180° VR, stereo, mono, side-by-side or over/under, embedded ambisonic audio and realtime mesh de-warping of 180° VR media. Playback is on screen or through immersive headsets like Oculus Rift, HTC Vive and HMDs supporting OpenVR on both Windows and Mac. In addition to playback and CDL color correction, Play Pro can directly publish your 360/180 media to Facebook 360 or YouTube 360.
As a look creator, Play Pro supports 1D and 3D LUT formats of any size for import and export. It also supports import/export of CDLs in both CDL and CC. It also allows you to combine two different LUTs and still add a display LUT on top. A CDL-based toolset, which is compatible with all other color tools, allows you to modify looks and/or create complete new looks.
It can also export LUTs in different depths and sizes to fit different LUT boxes, cameras and monitors. The ability to create looks in production or to import looks created by post production allows you to establish a consistent color pipeline from on-set to delivery. Using the Construct (timeline) environment, users can store all look versions and apply them at any time in the production process.
Play Pro reads in all formats and can transcode to ProRes, H.264 and H.265. For VR delivery, it supports H.264 rendering up to 8K, including the metadata needed for online portals, such as YouTube and Facebook. Users can add custom metadata, such as scene and take information and include it in any exported file. Or they can export it as a separate ALE-file for use further down the pipeline.
As a QC tool, Play Pro can be used on-set and in post. It supports SDI output, split-screen, A-B overlay and audio monitoring and routing. It also comes with a number of QC-tools for video measuring, like a vectorscope, waveform, curves, histogram, as well extensive annotation capabilities through its note feature.
All metadata and comments can be exported as a report in different styles, including an HDR-analysis report that calculates MaxFall and MaxCLL. Action- and title-safe guides, as well as blanking and letterboxing, can be enabled as an overlay for review.
Scratch Play Pro is available now for $19 per month, or $199 for a yearly license.
Lenovo’s new ThinkPad P52 is a 15-inch, VR-ready and ISV-certified mobile workstation featuring an Nvidia Quadro P3200 GPU. The all-new hexa-core Intel Xeon CPU doubles the memory capacity to 128GB and increases PCIe storage. Lenovo says the ThinkPad excels in animation and visual effects project storage, the creation of large models and datasets, and realtime playback.
“More and more, M&E artists have the need to create on-the-go,” reports Lenovo senior worldwide industry manager for M&E Rob Hoffmann. “Having desktop-like capabilities in a 15-inch mobile workstation, allows artists to remain creative anytime, anywhere.”
The workstation targets traditional ISV workflows, as well as AR and VR content creation or deployment of mobile AI. Lenovo points to Virtalis, a VR and advanced visualization company, as an example of who might take advantage of the workstation.
“Our virtual reality solutions help clients better understand data and interact with it. Being able to take these solutions mobile with the ThinkPad P52 gives us expanded flexibility to bring the technology to life for clients in their unique environments,” says Steve Carpenter, head of solutions development for Virtalis. “The ThinkPad P52 powering our Virtalis Visionary Render software is perfect for engineering and design professionals looking for a portable solution to take their first steps into the endless possibilities of VR.”
The P52 also will feature a 4K UHD display with 400nits, 100% Adobe color gamut and 10-bit color depth. There are dual USB-C Thunderbolt ports supporting the display of 8K video, allowing users to take advantage of the ThinkPad Thunderbolt Workstation Dock.
The ThinkPad P52 will be available later this month.
In the last few months, we have seen the release of the Red Monstro, Sony Venice, Arri Alexa LF and Canon C700 FF, all of which have larger or full-frame sensors. Full frame refers to the DSLR terminology, with full frame being equivalent to the entire 35mm film area — the way that it was used horizontally in still cameras. All SLRs used to be full frame with 35mm film, so there was no need for the term until manufacturers started saving money on digital image sensors by making them smaller than 35mm film exposures. Super35mm motion picture cameras on the other hand ran the film vertically, resulting in a smaller exposure area per frame, but this was still much larger than most video imagers until the last decade, with 2/3-inch chips being considered premium imagers. The options have grown a lot since then.
L-R: 1st AC Ben Brady, DP Michael Svitak and Mike McCarthy on the monitor.
Most of the top-end cinema cameras released over the last few years have advertised their Super35mm sensors as a huge selling point, as that allows use of any existing S35 lens on the camera. These S35 cameras include the Epic, Helium and Gemini from Red, Sony’s F5 and F55, Panasonic’s VaricamLT, Arri’s Alexa and Canon’s C100-500. On the top end, 65mm cameras like the Alexa65 have sensors twice as wide as Super35 cameras, but very limited lens options to cover a sensor that large. Full frame falls somewhere in between and allows, among other things, use of any 35mm still film lenses. In the world of film, this was referred to as Vista Vision, but the first widely used full-frame digital video camera was Canon’s 5D MkII, the first serious HDSLR. That format has suddenly surged in popularity recently, and thanks to this I recently had opportunity to be involved in a test shoot with a number of these new cameras.
Keslow Camera was generous enough to give DP Michael Svitak and myself access to pretty much all their full-frame cameras and lenses for the day in order to test the cameras, workflows and lens options for this new format. We also had the assistance of first AC Ben Brady to help us put all that gear to use, and Mike’s daughter Florendia as our model.
First off was the Red Monstro, which while technically not the full 24mm height of true full frame, uses the same size lenses due to the width of its 17×9 sensor. It offers the highest resolution of the group at 8K. It records compressed RAW to R3D files, as well as options for ProRes and DNxHR up to 4K, all saved to Red mags. Like the rest of the group, smaller portions of the sensor can be used at lower resolution to pair with smaller lenses. The Red Helium sensor has the same resolution but in a much smaller Super35 size, allowing a wider selection of lenses to be used. But larger pixels allow more light sensitivity, with individual pixels up to 5 microns wide on the Monstro and Dragon, compared to Helium’s 3.65-micron pixels.
Next up was Sony’s new Venice camera with a 6K full-frame sensor, allowing 4K S35 recording as well. It records XAVC to SxS cards or compressed RAW in the X-OCN format with the optional ASX-R7 external recorder, which we used. It is worth noting that both full-frame recording and integrated anamorphic support require additional special licenses from Sony, but Keslow provided us with a camera that had all of that functionality enabled. With a 36x24mm 6K sensor, the pixels are 5.9microns, and footage shot at 4K in the S35 mode should be similar to shooting with the F55.
We unexpectedly had the opportunity to shoot on Arri’s new AlexaLF (Large Format) camera. At 4.5K, this had the lowest resolution, but that also means the largest sensor pixels at 8.25microns, which can increase sensitivity. It records ArriRaw or ProRes to Codex XR capture drives with its integrated recorder.
Another other new option is the Canon C700 FF with a 5.9K full-frame sensor recording RAW, ProRes, or XAVC to CFast cards or Codex Drives. That gives it 6-micron pixels, similar to the Sony Venice. But we did not have the opportunity to test that camera this time around, maybe in the future.
One more factor in all of this is the rising popularity of anamorphic lenses. All of these cameras support modes that use the part of the sensor covered by anamorphic lenses and can desqueeze the image for live monitoring and preview. In the digital world, anamorphic essentially cuts your overall resolution in half, until the unlikely event that we start seeing anamorphic projectors or cameras with rectangular sensor pixels. But the prevailing attitude appears to be, “We have lots of extra resolution available so it doesn’t really matter if we lose some to anamorphic conversion.”
So what does this mean for post? In theory, sensor size has no direct effect on the recorded files (besides the content of them) but resolution does. But we also have a number of new formats to deal with as well, and then we have to deal with anamorphic images during finishing.
Ever since I got my hands on one of Dell’s new UP3218K monitors with an 8K screen, I have been collecting 8K assets to display on there. When I first started discussing this shoot with DP Michael Svitak, I was primarily interested in getting some more 8K footage to use to test out new 8K monitors, editing systems and software as it got released. I was anticipating getting Red footage, which I knew I could playback and process using my existing software and hardware.
The other cameras and lens options were added as the plan expanded, and by the time we got to Keslow Camera, they had filled a room with lenses and gear for us to test with. I also had a Dell 8K display connected to my ingest system, and the new 4K DreamColor monitor as well. This allowed me to view the recorded footage in the highest resolution possible.
Most editing programs, including Premiere Pro and Resolve, can handle anamorphic footage without issue, but new camera formats can be a bigger challenge. Any RAW file requires info about the sensor pattern in order to debayer it properly, and new compression formats are even more work. Sony’s new compressed RAW format for Venice, called X-OCN, is supported in the newest 12.1 release of Premiere Pro, so I didn’t expect that to be a problem. Its other recording option is XAVC, which should work as well. The Alexa on the other hand uses ArriRaw files, which have been supported in Premiere for years, but each new camera shoots a slightly different “flavor” of the file based on the unique properties of that sensor. Shooting ProRes instead would virtually guarantee compatibility but at the expense of the RAW properties. (Maybe someday ProResRAW will offer the best of both worlds.) The Alexa also has the challenge of recording to Codex drives that can only be offloaded in OS X or Linux.
Once I had all of the files on my system, after using a MacBook Pro to offload the media cards, I tried to bring them into Premiere. The Red files came in just fine but didn’t play back smoothly over 1/4 resolution. They played smoothly in RedCineX with my Red Rocket-X enabled, and they export respectably fast in AME, (a five-minute 8K anamorphic sequence to UHD H.265 in 10 minutes), but for some reason Premiere Pro isn’t able to get smooth playback when using the Red Rocket-X. Next I tried the X-OCN files from the Venice camera, which imported without issue. They played smoothly on my machine but looked like they were locked to half or quarter res, regardless of what settings I used, even in the exports. I am currently working with Adobe to get to the bottom of that because they are able to play back my files at full quality, while all my systems have the same issue. Lastly, I tried to import the Arri files from the AlexaLF, but Adobe doesn’t support that new variation of ArriRaw yet. I would anticipate that will happen soon, since it shouldn’t be too difficult to add that new version to the existing support.
I ended up converting the files I needed to DNxHR in DaVinci Resolve so I could edit them in Premiere, and I put together a short video showing off the various lenses we tested with. Eventually, I need to learn how to use Resolve more efficiently, but the type of work I usually do lends itself to the way Premiere is designed — inter-cutting and nesting sequences with many different resolutions and aspect ratios. Here is a short clip demonstrating some of the lenses we tested with:
This is a web video, so even at UHD it is not meant to be an analysis of the RAW image quality, but instead a demonstration of the field of view and overall feel with various lenses and camera settings. The combination of the larger sensors and the anamorphic lenses leads to an extremely wide field of view. The table was only about 10 feet from the camera, and we can usually see all the way around it. We also discovered that when recording anamorphic on the Alexa LF, we were recording a wider image than was displaying on the monitor output. You can see in the frame grab below that the live display visible on the right side of the image isn’t displaying the full content that got recorded, which is why we didn’t notice that we were recording with the wrong settings with so much vignetting from the lens.
We only discovered this after the fact, from this shot, so we didn’t get the opportunity to track down the issue to see if it was the result of a setting in the camera or in the monitor. This is why we test things before a shoot, but we didn’t “test” before our camera test, so these things happen.
We learned a lot from the process, and hopefully some of those lessons are conveyed here. A big thanks to Brad Wilson and the rest of the guys at Keslow Camera for their gear and support of this adventure and, hopefully, it will help people better prepare to shoot and post with this new generation of cameras.
Main Image: DP Michael Svitak
Mike McCarthy is an online editor/workflow consultant with 10 years of experience on feature films and commercials. He has been involved in pioneering new solutions for tapeless workflows, DSLR filmmaking and multi-screen and surround video experiences. Check out his site.
Red Digital Cinema modified its camera lineup to include one DSMC2 camera Brain with three sensor options — Monstro 8K VV, Helium 8K S35 and Gemini 5K S35. The single DSMC2 camera Brain includes high-end frame rates and data rates regardless of the sensor chosen. In addition, this streamlined approach will result in a price reduction compared to Red’s previous camera line-up.
“We have been working to become more efficient, as well as align with strategic manufacturing partners to optimize our supply chain,” says Jarred Land, president of Red Digital Cinema. “As a result, I am happy to announce a simplification of our lineup with a single DSMC2 brain with multiple sensor options, as well as an overall reduction on our pricing.”
Red’s DSMC2 camera Brain is a modular system that allows users to configure a fully operational camera setup to meet their individual needs. Red offers a range of accessories, including display and control functionality, input/output modules, mounting equipment, and methods of powering the camera. The camera Brain is capable of up to 60fps at 8K, offers 300MB/s data transfer speeds and simultaneous recording of RedCode RAW and Apple ProRes or Avid DNxHD/HR.
The Red DSMC2 camera Brain and sensor options:
– DSMC2 with Monstro 8K VV offers cinematic full frame lens coverage, produces ultra-detailed 35.4 megapixel stills and offers 17+ stops of dynamic range for $54,500.
– DSMC2 with Helium 8K S35 offers 16.5+ stops of dynamic range in a Super 35 frame, and is available now for $24,500.
– DSMC2 with Gemini 5K S35 uses dual sensitivity modes to provide creators with greater flexibility using standard mode for well-lit conditions or low-light mode for darker environments priced at $19,500.
Red will begin to phase out new sales of its Epic-W and Weapon camera Brains starting immediately. In addition to the changes to the camera line-up, Red will also begin offering new upgrade paths for customers looking to move from older Red camera systems or from one sensor to another. The full range of upgrade options can be found here.