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TVA Director/DP/Editor Mark Mannschreck has taken possession of
one of the very first Red One cameras.
There are less than 50 cameras in the world at the moment.
The Red One camera is capable of recording at
resolutions up to 4096 horizontal by 2304 vertical pixels (12 mega
pixel) at 24fps and higher. The camera has a S35 sized sensor and
uses Cine 35mm PL mount lenses for stunning imagery exceeding that
of ultra HD and 35mm motion picture film.
For more info about this camera go to: www.red.com
Red #41 is immediately available for new TVA clients.
Be among the first to have your project shot with the 4K Red ONE.
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AVAILABLE NOW! |
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| Equipment list : |
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RedOne 4k
Red 18-50CF
Red LCD
Red EVF
Red Premium Production Pack +
Red Charger X3 Red Brick
Red CF X5
Red Drive
Nikon Mount
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17-35/35-70/85mm nikkors
Red Camera Cart
Chrosziel S16 (covers 18-50)
Sachtler 25II + Carbon Fiber
Red Rock Follow Focus
4X4 filter kit
Arri Softbank 1
Electrosonic 195/Tram wireless system
Rode NTG 2 shotgun & Fishpole
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Luxury Linens, makers of "Neat Sheets "was among the first to have their project shot by TVA with this groundbreaking new camera on September 11,2007.
Be one of the first to have YOUR project shot in what can only be called ULTRA HD.
Testimonials |
I liked what they were doing-making a digital camera of the
utmost quality, and making it affordable for indie filmmakers.
Academy Award winning Director, Peter Jackson
Director and Producer of The Lord of the Rings trilogy and King Kong
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This is the camera I've been waiting for my whole career jaw-dropping imagery recorded onboard a camera light enough to hold with one hand. ...RED is going to change everything."
Academy Award winning Director, Steven Soderbergh
Director and Cinematographer of Ocean's Seven, Traffic and Solaris |
I have had the opportunity to test the RED ONE camera over the past few weeks, including direct comparison to the same film I shoot on '24'. All I can say is that I am totally amazed. Revolutionary might not be a strong enough word to describe what RED is doing.
Rodney Charters Cinematographer on 24 |
Rim is dead. And by the way, so is video. The word is getting out that RED is the future, but for us it is right now. After holding these bad boys in our hands and putting the cameras through the full neveldine/taylor acid test our faith in the mad scientists at RED labs is unlimited. We're committed to RED for every project we've got in the pipeline.
Mark Neveldine and Brian Taylor Writers and Directors for Crank
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We're shooting RED side by side film. We scanned the film 4k and took both into the Baselight, compared them and then did a filmout of both, When we screened side by side, we literally could not tell the difference. In fact, most people picked the RED footage as film because of a greater dynamic range in the highlights than in the 5218. V\fe are actually inter-rutting the digital image*; with film. It's not enough to say it is the hest digital image out then?. The RR1 image looks remarkably better than the filmed images. I thought I would never be able to say that
Jon Farhat
VFX Supervisor of Wanted |
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