Is the RED One Digital Cinema Camera right for your Production?

• RED One can be scaled to suit your production's needs and budget.

  • Shooting a $5M feature?  Shoot RED One with 35mm PL primes and 4K on set reviewing capability.  Watch "dailies" instantly.  Edit on set.  Send multiple copies off-set to editorial and VFX shops.
     

  • Lensing a regional spot?  The RED One creates beautiful shots with low-cost Nikon still primes and 1080p post.
     

  • Creating your Indie masterpiece?  Use your personal 16mm lenses to frame that story and finish in HD or SD.
     

• An Alternative to Film - RED One's Super 35 Mysterium^TM sensor records up to 4K - over four times that of 1080p ENG-style cameras.  Most film-acquired projects are scanned at 2K for post-production.

• RED One records RAW data straight off the daylight-balanced CMOS imager without any looks burned into the image - just like film.  Coloring and grading are relegated to post, speeding up production.
  
  No film costs - stock, lab, scanning, etc.
   

• A Companion to Film - RED One records up to 4K progressive images (4096x2304) with its 12 mega-pixel, Super 35, CMOS sensor - over four times that of 1080p ENG-style cameras.
  
  RED One delivers 11 stops of dynamic range (9 stops rated independently) with its 12-bit RAW data format. 
  
  RED One records RAW data straight off the daylight-balanced CMOS imager without any looks burned into the image - just like film.  Coloring and grading are relegated to post.
   

• Post Production - RED One's 12-bit RAW workflow is tapeless and digital.  No film stock.  No processing fees.  RED One media connects to Macintosh and PC systems without special drivers and conversion tools - just like an external hard drive.
  
  RED One RAW data currently works natively in Final Cut Pro and Scratch.  AVID, Adobe Premiere, Sony Vegas, Cineform, and other vendors are poised to add native RED RAW workflows once the development kit is released.
  
  RED RAW data may be converted to Quicktime, DPX, TIFF, Cineon, etc. as well with the companion REDAlert and REDCine software.
  
  Review sample workflows.
   

• Longevity: A 4k frame can serve as stock and production photos. A 4K program will be sellable for many years to come.
   

• Visual Effects: RED One is being used as a replacement to film for blue-/green-screen acquisition.  No film processing.  No frame jitter removal.  Just clean, 4K keys.
   

• Reframing: Use a 4K frame for re-frames and punch-ins.  Save time on the set by eliminating setups and performance discontinuities.  While D.P.'s prefer to re-light and reframe closer to the axis on close-ups as well as compose backgrounds more out of focus, when schedules are tight or a shot was missed, 4K can save the shoot.

Additional Resources:

Studio Daily reviews RED One beta camera - November 2007

RED One Workflow for "3 Days Gone" feature - February 2008

Interviews - Steven Soderbergh, Crash, Doug Liman, Michael Cioni, Pierre De Lespinois, and Tony Richmond talk about RED One

Features on RED One - The Informant, The Argentine, Jumper, Guerilla, Game

AFT Projects on RED One - commercials and narratives