What it is exactly you can find on their website. Essentially it's a high
resolution HD camera. The reason it's getting so much buzz is because
the creator of the business is excellent at marketing.

And because a lot pf people really like it. I have used it twice. I hate
that damn camera.

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The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

Lol ok thanks, was just wondering about it since I keep hearing.

I have to disagree with Certified here. The reason the RED is so innovative is because it shoots in a RAW format that allows for much greater latitude in post-processing (like high-end digital still cameras), and because it's the only affordable digital cinema camera out there that has a 35mm-sized sensor (the others being the Panavision Genesis, and a few high-end offerings from Dalsa, Arri and Thomson--all prohibitively expensive, or even impossible to rent in the Midwest). The advantage of a 35mm-sized sensor is increased control over depth of field, improved sharpness, and increased resolution (the RED shoots at 4k resolution, which is just over 4x the resolution of 1080p HD). As an added bonus, it uses interchangeable PL-mount cine lenses, which tend to be way better optically than any video lens. Finally, there are at least two packages (probably more) available for rent in Minneapolis.

I've used the RED on two films--once as first AC, once as director--and couldn't be more pleased with the results. Of course there are drawbacks--the firmware can be a bit finicky and if you lose power you're screwed, since it doesn't have an optical viewfinder you have to be running power to the camera in order to see an image, and it's got a whole lot of components that have to be teched separately before assembly. On the other hand, it's got a picture that will blow an HVX200 out of the water every time (perhaps that's an unfair comparison, but it's what these films WOULD have been shot on, had it not been for the availability of a RED).

There's some difficulty with the post-production workflow since the Redcode files are still a relatively new format, but all these problems are easily surmountable if you decide they're worth tackling.

I'd still always pick 16mm over the RED, but if you can't afford film, this is the way to go. Definitely the best non-film camera I've ever used.

In case you're curious, this film was shot on the RED on a Friday with a crew of two, edited over the weekend, and finished the following Tuesday: ?url? http://vimeo.com/2162890?/url? (watch it in HD if you can; even then, though, Vimeo can't do it justice).

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Andrew Gingerich
Exploding Goldfish Films
Check out my blog at http://www.exgfilms.com
and my reel at http://portfolio.exgfilms.com

Date: Wednesday, February 25th, 2009
RED in Real Life:

Time: 6:00PM for drinks and appetizers; Presentation starts at 6:30PM
Location: Birns and Sawyer, Inc
Address: 6381 De Longpre, Los Angeles, CA 90028
Telephone: 323 466 8211
RSVP: info?birnsandsawyer.com

Cinematographers Paul Babin and Rob Kositchek host the evening with tales of their experience shooting Paul's short film with RED. Shot over several weeks in Los Angeles, these working cinematographers will describe their hurdles, challenges, successes and insights into what makes this camera special and what they might do differently next time.

We will be treated to a screening of their film, which is visually stunning. This thought provoking film offers a gritty and urban perspective of modern Los Angeles.

As always, we look forward to having you as our guest for great networking, stimulating conversation, and the best catering this side of La Brea.

NO HOST Parking is available next door in the ArcLight Cinerama Dome Plaza parking structure

Anticipated charges:$2.00 for the first two hours, $2.00 for each hour thereafter

Brian Dzyak
Cameraman/Author
IATSE Local 600, SOC
http://www.whatireallywanttodo.com