RED V-RAPTOR 8K VV CINEMA CAMERA

RED Announces the First of the DSMC3 Line: The V-RAPTOR 8K Cinema Camera.

The new RED V-RAPTOR 8K VV cinema camera with a new 8K VV sensor that moves the RED family of cameras into a new, advanced DSMC3 line.

As the first of the DSMC3 platform, the V-RAPTOR features a compact form factor only slightly larger than the KOMODO, and it features a new multi-format V-RAPTOR 8K VV sensor that can natively capture in full frame as well as in 6K S35, 3K S16, VistaVision, and Anamorphic formats.

This multi-format design allows you to utilize non-full-frame lenses in S35 mode, and the camera has built-in features to make internal adjustments to accommodate a wide range of lenses.

The camera will be released initially in a V-RAPTOR 8K ST model in a limited edition white finish, and it will be released in a black finish at a later time. The camera fits easily into your production as an A/B camera in film production, for owner operators, or for content creators because of its versatility.


The new 35.4 MP V-RAPTOR VV CMOS sensor features phase-detection autofocus, a massive 17 stops of dynamic range, and high-speed frame rates over the GEMINI for even better low-light performance. The 40.96 x 21.60 CMOS sensor offers 8192 x 4320 resolution, 16-bit raw capture, reduced CMOS smear, and a new, fixed OLPF stack. Its high frame rate capability also allows for reduced rolling shutter artifacts with an extremely fast sensor read speed.

The V-RAPTOR can capture up to 8K 17:9 aspect at 120 fps, 4K up to 240 fps, and 2K in 2:40:1 aspect at up to a whopping 600 fps.


CF Card Reader

The camera comes with a rugged, locking RF mount, which is similar to the mount on the KOMODO, allowing you to utilize fast RF lenses. It is also compatible with third-party lens mount adapters from KipperTie, Wooden Camera, or Canon, so you can use PL and EF-mount lenses with electronic control support. The camera records to a CFexpress 2.0 Type B card, which can record raw R3D and ProRes files to up to 800 MB/s. 

There are three main recording modes, including REDCODE HQ with up to 360 MB/s at high frame rates for high-end VFX usage, MQ for standard cinematic shooting up to 300 MB/s, and LQ mode that shoots up to 180 MB/s for standard web streaming applications and long takes.


Creative Solutions

One of the handy new features of the V-RAPTOR is the dedicated user display on the side of the camera with an intuitive interface designed for camera assistants who need to adjust settings such as LUTs, controls, presets, formats, and general configuration (not for video preview). It features user pages to save custom presets, and there are quick buttons beside the display so it’s easy to use in the dark. The camera also features improved heat management with two intake ports on the bottom, a top vent, and a super-quiet 60mm fan that utilizes a thermoelectric heat exchanger that helps you change environments quickly without the need to recalibrate blackshade.


Small HD Monitor

The V-RAPTOR has multiple built-in interfaces, including two 12G-SDI outputs, a 9-pin EXT port for a breakout box, a USB Type-C port, a top Pogo pin for monitor, and a 4-pin power input. A 5-pin ODU output on the side can be broken out to an XLR input adapter or with a third-party 3.5mm adapter cable for audio input. The camera is powered using either the included power adapter or its built-in V-mount battery plate that accepts Micro V-mount batteries, such as the REDVOLT MICRO-V battery.

The camera also features wireless connectivity that provides live 1080p streaming, updated from 720p on the KOMODO, and it also allows wireless configuration from the RED smartphone app.

Multiple camera interfaces enable a wide range of accessories that are only compatible with the DSMC3 line (the RED Outrigger Handle is the only exception). RED partnered with SmallHD to create the DSMC3 RED TOUCH 7" LCD screen, which will utilize the Pogo interface and allow camera control functions using custom monitor software. 


The V-RAPTOR Wing Grips are custom-designed for the V-RAPTOR, as is the high-speed RED/Angelbird 660GB CFexpress 2.0 Type-B card. The partnership between RED and Creative Solutions will be releasing a start/stop top handle, extension handle, baseplate, breakout box with genlock/TC/Control/run/stop, tactical top plate, production plate, quick-release platform, production grips, and a DSMC3 5-pin ODU connector to add 3-pin XLR inputs. CoreSWX and RED also teamed up to create the REDVOLT MICRO-V 98Wh V-mount battery pack, in a compact form factor that provides 12A output for the V-RAPTOR.

Special Edition Starter Kit

RED will also be releasing a Special Edition Starter Kit, which will include the white V-RAPTOR ST Camera, an AC power adapter, two REDVOLT MICRO-V batteries, a dual V-mount charger, a 660GB CFexpress 2.0 card, a CFexpress card reader, a 3' EXT to timecode cable, the RED TOUCH 7" LCD, and two V-RAPTOR wing grips.


Priced at $24,500, a white ST version of the camera is available today for purchase via RED.com or from any one of RED’s authorized premium dealers while supplies last. The black version will be available in larger quantities before the end of 2021. RED also announced a forthcoming XL camera body will be released in the first half of 2022. The XL will be ideally suited for studio configurations and high-end productions, based on feedback to the RED RANGER body style.


SMALLHD CINE 13" 4K HIGH BRIGHT MONITOR



Cine 13" 4K High-Bright Monitor Cine 13 is SmallHD’s most agile, bright, and pixel-dense 4K production monitor yet. Boasting over 1500nits of brightness and 3840 x 2160 resolution, 4K is now more portable than ever.
 
Low-profile in design, this field companion can be rigged for almost any situation. With brilliant daylight visibility and full 4K clarity, Cine 13 is built for those on-set creatives who require critical focusing capability and a large display. 
 
Product Highlights 
13.3in / 34cm IPS LCD 1500+nits Brightness 3840x2160 Resolution 100% Rec 709 Color Weight: 6.8lbs / 3.09kg (with handle & feet)

Key Platform Highlights 
PageOS 4 software platform 4K HDR waveform and scopes Dual & Quad-View* Color Pipe color rendering Monitor Calibration Wizard Small4K™ 

Video Processing Architecture Inputs: 4x 12G-SDI , 1x HDMI 2.0 Outputs: 4x 12G-SDI, 1x HDMI 2.0* Unibody Smart Chassis Arca Slide-On Rail for battery and accessory mounting 2x 2-pin accessory power outputs Lower mounting rail included for ultimate flexibility Power 1x 4-pin XLR Hot-swappable dual inputs Dual-GM/VM Battery Plate (sold separately) 

A stunning 338 PPI display weighing in at only 6.8lbs High density, low profile. 

Model: MON-CINE-13 Display: 13" 3840 x 2160 Backlight Type: LCD Display: 13-inch, 3840x2160, 1500nits SDI: 4x 12G-SDI in, 4x 12G-SDI out HDMI: 1x HDMI 2.0 in, 1x HDMI 2.0 out Power Input: 1x 4-pin XLR 

 $ 4,699.00




ULTIMATE GUIDE TO CAMERA MOVEMENT

Camera movement is a surefire way to amplify your visual storytelling. Whether you opt for a dolly shot, a tracking shot, or decide to go handheld, a simple scene can turn into an electrifying moment. In this video essay, Episode 6 of The Shot List, we’re going to cover every type of camera movement in film. From the storytelling value of each camera movement to the camera movement techniques necessary to pull them off.


First up is the static shot — the absence of camera movement. Static shots are perfect for dialogue scenes or when you want to showcase the actor’s performance. A pan shot is a go-to when you want to reveal context, setting, or even build suspense. A whip pan can be a dynamic way to transition between characters in a scene or between different scenes. 

The tilt is a camera movement typically used to introduce characters or show the size and scope of a location. Pushing the camera in or pulling out are camera movements designed to either connect or disconnect the audience to a character or a situation. A zoom shot is not technically a camera movement because it is a function of the lens magnifying or de-magnifying the image. But when you combine it with a dolly camera movement, you can create a striking and cinematic camera movement called a dolly zoom. 

The dolly zoom effect compresses or stretches the background around the subject for an evocative and powerful camera shot. When a camera rolls, the world is literally turned upside down. Tracking shots will lead or follow the subject and can be utilized in any number of situations. When the camera follows parallel to the subject, it is known as trucking. When the camera movement surrounds the subject to make them feel surrounded or perhaps heroic, you’ve got yourself an arc shot. 

A boom shot is a vertical camera movement, which can be subtle or grand like a crane shot. The final camera movement is handheld with random shake and/or seemingly arbitrary zooms. When you’re going for documentary realism, this is the ideal approach to camera movement.

WHY HASSELBLAD CAMERAS ARE SO EXPENSIVE

I owned Hasselblad cameras (CM 500 & 500EL/M) so many years, it was a period over ten years, I was shooting only medium format 120 & large format 5x7, 8x10 chrome & negative film. Seldom 35mm. No digital, no computer, no Insta gratification, no Photoshop, no Lightroom.

Proofing w/Polaroid then process E6 or C41, push or pull and the square format shots were ready for client approval. Good Times. Then, forcibly I had to adopt digital acquisition and Hasselblad equipment went through the roof. But, still Hasselblad are the most reliable & sharp cameras & lenses for high end commercial & studio work. 📷 


WHY HASSELBLAD CAMERAS ARE SO EXPENSIVE.  August 8, 2021 by Udi Tirosh

Some of the most Iconic shots were taken with a Hasselblad (or Hassy as its fans call it). The album cover for The Beatless’ Abbey Road and the iconic Apollo 11 photo of Buzz Aldrin walking on the moon (shot by Neil Armstrong) are a few photos that almost everyone knows. On the flip side of this, a current Hassy would cost upwards of $30,000. And this is for the body only. A Fujifilm GFX 100S, also about 100MP, will set you back ‘only’ $6,000. So why are people willing to invest so much in a Hasselblad-made camera?

The folks from Business Insider dived into the Hasselblad pricing structure. Interestingly, Hassies were not always so expensive. They were pricey, but not to the point they are today. For reference, in 1948, Hasselblad’s first consumer camera cost around $500.

If you account for inflation, you’db be looking at something equivalent to $5,900 in today’s market. And again, looking at adjusted prices for Hasselblad bodies from the ’70s, you’re looking at around $5300.

The big pricing shit came with the move to digital. The first digital Hasselblad, the H1D from 2004, cost about $24,000, and it was a 22.0 Megapixel camera. (The previous film model was less than half that price). Hasselblad says that the main pricing factor for the camera is the large format sensor (Sony is making those). The large sensor allows for excellent low noise performance and impressive dynamic range. But the main reason that the camera is priced so high is that they had all made by hand.

With a low sales volume (The Verge reported under 10,000 units in 2018), you pay for the manual labor. And that is significantly more expensive than an automated assembly line.  The video explains that some of the work is done by the same people for over 30 years and is somewhere between a job and a craft. In total, a camera takes about six to eight hours to assemble, with calibration taking a big chunk of that time. And each camera sensor is individually manually calibrated.

[via Image Insider]

Udi Tirosh is the Founder and Editor in Chief of DIYPhotography.





ARRI Hi-5 HAND UNIT

The new ARRI Hi-5 is the most sophisticated hand unit on the market, providing reliable wireless camera and multi-axis lens control.


Weatherproof and solidly built, it features an exceptional radio link range and unique, swappable radio modules for different territories and shooting challenges.

 

Hi-Performance 
Multi-Axis Lens control. Powerful radio signal cuts through interference. Up to 100 virtual radio channels. Split-second reconnection time. High-contrast display. 

Hi-Versatility 
Swappable radio modules for different regions/situations. Three user buttons for personalized functions. Full camera control (including third-party cameras) Focus knob adjustable to operator preferences. Focusbug Cine RT support. 

Hi-Speed 
Fast and efficient new ECS ecosystem Smart pre-marked focus rings detected automatically. Integrated NATO rail and multiple mounting points.ECS Sync App: easy software updates and lens file management. Customizable touchscreen user interface. 

 Hi-Reliability 
Best rain, temperature, and dust protection on the market. Exceptionally strong materials and build quality Intelligent, high-capacity batteries. A tool that can be trusted for heavy use over many years. 

Hi-Tech 
Hot-swap battery technology Modular hardware and upgradeable software. Non-visual alerts via vibrating haptic feedback. Adaptable to future standards and networks. 



CINE GEAR EXPO 2019. WHAT IS THERE NEW TO SEE.

An overview of  new gear, technology and services
we expect to see this year at Cine Gear Expo 2019. (Part 1)

FUJINON/ FUJIFILM
Fujifilm's optical team have brought the optical and mechanical performance of  the Premiers to the Vista Vision image circle size creating a new lens series, Premista.  Fujifilm's new, state-of-the-art optical design has enabled unrivaled level of performance in a lens that is 45% Lighter, 28% Shorter with a 17% smaller diameter front element than the Fujinon Premier HK18-85mm, T2.0.  Cine Gear Booth Stage 7 - S211 www.fujinoncinelens.com

See the Premista Projected at Cine Gear in Chrosziel's Lens Projection room L401 
(New York Street). Friday - 5:30pm to 6:00pm with Matthew Duclos, 
Duclos Lenses. Saturday - 2:00pm to 2:30pm with Casey Ehalt, Abel Cine

It will be a special screening of Rhinestone Blue, the first film shot on Fujinon's  PREMISTA large format lenses on Saturday June 1st,  11:30am at Paramount Theater.  The screening is followed by an Q&A with director Aisha Schliessler and renowned cinematographer Tobias Schliessler, ASC moderated by CML founder Geoff Boyle, NSC.


ANGENIEUX
 Angenieux Goes Prime !
 The Optimo Prime series of 12 lenses provides full frame 46.5mm image circle coverage
with a consistent 1.8 T-stop (except on extremes). Available as PL and LPL and designed as
smart lenses, the Optimo Prime Series is very compact and lightweight.

They will support both Cooke/I and Arri LDS; and offer a common gear size and position for all lenses in the 12-lens set. Focal lengths include 18mm, 21mm, 24mm, 28mm, 32mm, 40mm, 50mm,
60mm, 75mm, 100mm, 135mm, 200mm and will be manufactured both in France and Germany. 
www.angenieux.com   Booth #40


CINE GEAR EXPO AWARD
This year Cine Gear Expo pays tribute to Academy Award®-winning cinematographer Claudio Miranda, ASC for Visionary Achievement in Cinematography. (pictured above with director Brad Bird, for their collaboration on Tomorrowland). 

A pioneer in digital filmmaking, he embraces the latest technology to capture some of the big screen’s most groundbreaking imagery. He shot the first entirely digital feature, The Curious Case of Benjamin Button for which he earned Best Cinematography nominations from the Motion Picture Academy, BAFTA and the ASC. 

His use of enhanced environment LED technology gave life to ultra-real lighting and out-of-this-world vistas on Oblivion and Tomorrowland. Breathtaking visuals on Life of Pi garnered Miranda a 2013 Best Cinematography Oscar® and top accolades worldwide.


HIVE LIGHTING
Super Hornet 575-C. . 30,000 lumens (2.5X the Hornet 200-C) 4" x 11" and 5.5 lbs. 
Head. 10" x  9" x  4" and 9 lbs. Power Supply 550 Watts. 90 - 264 VAC
Profoto Mount Compatible.  Hive C-Series Accessories Compatible
100% flicker free (0-100% dimming). Full Hive "SHOT" controls
Wired and Wireless DMX (Lumen Radio/CRMX)
Bluetooth App for iPhone and Android (increased range)
Preset Effects, Sources and Profile library along with 
new "Corrective Gels"
sales@hivelighting.com Booth S321 Stage 5)


PANAVISION 
Panavision’s Camera-to-Finish Imaging 
Ecosystem Featured at Cine Gear 2019 

(Updated  Cine Gear Expo 2019 Release)  Come to see us at Stage 3 Booth 5408.
  • Company Launches LINK HDR, a Revolutionary New System that Empowers Creatives to View Content in HDR Throughout the Imaging Chain 
  • DXL-M Expands the DXL2 Ecosystem, Meeting Production Needs for any Shooting Scenario
    LCND Now has Expanded Features Including Wireless Controls 
  • LEE100 Filter System Makes its Cine Gear Debut
Panavision, the world-class provider of end-to-end solutions, will return to Cine Gear Expo (May 31-June 1) at The Studios at Paramount to showcase the latest innovations in the company’s ever-expanding production and post production ecosystem. Panavision, Light Iron and LEE Filters will display an array of integrated technologies and systems at booth S408 on Stage 3 – ranging from lenses, cameras and filters, to state-of-the-art production and post production workflows – that illustrate Panavision’s commitment to providing the most versatile and powerful storytelling tools. 
“At Panavision, our vision is to support filmmakers with solutions that expand creativity and efficiency,” says Kim Snyder, president and CEO of Panavision. “We’re always focused on adapting the tremendous power of technology to the needs of the visual artist. We’re proud and excited to demonstrate our latest advancements.”

Among the breakthroughs on display are Panavision and Light Iron’s new LINK HDR system. Creatives are producing for HDR-capable distribution platforms more than ever before as consumers seek premium viewing experiences. LINK HDR was developed to address the challenge of viewing HDR (high dynamic range) images throughout the production and post production process. 


Offering HDR and SDR viewing options in tandem, LINK HDR provides cinematographers, directors, editors and creative talent throughout the imaging chain the ability to view their image at the same quality delivered to consumers.
The LINK HDR system consists of:
  • Panavision LINK HDR On-Set Cart – a modular cart outfitted with various monitoring configurations that offers creatives the ability to view HDR and SDR live from the camera.
  • Light Iron LINK HDR Dailies – an NLE process that creates HDR and SDR deliverables simultaneously, which allows editors to cut, toggle between, and export in either format.
  • Light Iron LINK HDR Finish – a combination of creative talent, technical expertise, and leading technologies that link the creative decisions made on-set to the HDR mastering process for delivery to various HDR platforms.
“As adoption rates of the HDR format rapidly grow, it is more critical than ever for creatives to view a consistent image from on-set through the finishing suite,” notes Light Iron Supervising Colorist Ian Vertovec. “We want filmmakers to have all the tools they need for this new deliverable. The components of LINK HDR were designed with them in mind.”

Panavision’s Millennium DXL2 and DXL-M camera systems will also be showcased at the Panavision booth, demonstrating the value of this expanding ecosystem. With new industry developments, the DXL2’s 6G 4K SDI outputs, which allow direct connection to a Teradek Bolt 4K with a single SDI cable, can now be fully utilized. The latest enhancements to the DXL2 also include: an integrated C-Motion F.I.Z. module allowing the use of Arri WCU4 wireless lens control handsets with full lens mapping support; a proxy workflow that allows easy creation of traditional dailies while archiving 8K files for DI and VFX; a wireless audio module adding expanded audio capabilities; and DXL Control for iPhone and Android.


The DXL-M, which marries the modularity and connectivity of the DXL with the smaller size and weight of RED’s DSMC2 cameras, is now available to filmmakers. In addition to the Primo HDR viewfinder, DXL menu system and LiColor2, the DXL-M now offers 2x2 SDI outputs delivering two independent monitoring paths across 4x HD-SDI outputs. Along with added accessories, battery elevator and control upgrades, these advancements add to the efficiency and flexibility of the kit. The result is a fully-equipped camera that is conveniently adaptable to any shooting scenario, including drone, remote head shots and situations where space is at a premium.


Panavision’s LCND, a variable liquid crystal neutral density filtration system, will be presented with expanded new features. LCND is now wirelessly controllable via the Preston handset and offers functionality that translates to creativity on the set. The ability to maintain a given stop under changing lighting conditions by riding the ND filter instead of the iris adds powerful image control options at the moment of photography. LCND also has manual controls and a 24-hour internal battery built into the single filter tray.

Panavision’s longstanding emphasis on delivering superior lens quality and unmatched selection continues to be a priority as it serves the artistic needs of today’s creative community. At Cine Gear, filmmakers can examine the company’s proprietary portfolio of optics, including the Primo-X (weatherproof and compact drone and gimbal solution), Panaspeed (large format, high-speed T1.4 with the classic Primo look), H-Series (vintage portrait look for spherical large format), and UltraVista (1.65x large-format anamorphic) lines, as well as other lenses in Panavision’s large-format offerings.

In addition to exhibiting, Panavision, in partnership with RED Digital Cinema, will present a panel featuring Oscar®-nominated cinematographer John Schwartzman, ASC. Panavision’s SVP of Optics Dan Sasaki will join Schwartzman as he discusses his approach to visual storytelling and explores the fusion between visual concepts and tools. Schwartzman will reveal his decision-making process from pre-production to post on such projects as The Highwaymen and the upcoming Last Christmas, on June 1 at 11:45 a.m. in the Sherry Lansing Theater.

LEE Filters will highlight the LEE100, a newly updated 100mm filter mount system that boasts lighter weight and improved performance. The LEE100 Filter System incorporates a rotation lock as well as a newly designed clip-on polarizer filter for ease of use. Additionally, LEE’s full collection of lighting gels, including the expanded range of Zircon gels specifically designed for fine-tuning LED fixtures, will be touted, as well as the ProGlass CINE IRND range of neutral-density filters, precisely built to meet the exacting needs of cinematographers.

“The advancements on display at Cine Gear exemplify our commitment to providing end-to-end solutions that put creative flexibility in the hands of filmmakers,” says Snyder. “Each tool is conceived as an element of a unified ecosystem designed to deliver customizable solutions to meet any need or budget. We’re looking forward to the opportunity to present the results to our friends and colleagues in the filmmaking community, and we can’t wait to see how they’re used in the visual storytelling of tomorrow.” 




16x9
 The  Easyrig STABIL it will be available onsite at CineGear and we welcome everyone to stop by 16x9 and take it for a test. Also from Easyrig, the Venice Cheeseplate is now delivering.   We're excited to invite everyone to visit us at CineGear Expo May 31st through June 1st on the Paramount Studios NYC Streets Backlot, Booth #70.

 Orca Bags 3S Harness (Pre-order Only) Booth #70.
The Orca 3S (Spinal Support System) Harness. The new 3S features a patented design to help protect and support audio operators to perform their craft.  The 3S can be used with the stand-alone top vest, just the waist belt or the top vest and waist belt combined with the patented Spinal Support System.

The 3S waist belt features a unique "roller buckle" that helps tighten the waist belt on the operator's hips for proper weight distribution and the perfect fit.

Other Features
 - Built with special EVA sponge and mesh system for maximum air flow and ventilation
 - Pneumatic spring system that helps users adjust height of the harness spine as needed
 - Includes two back pockets for storage and USB port with cable for reserve power supplies
Expected arrival - August 2019

End of Part 1. More to come

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