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RED To Showcase Weapon With Monstro 8K VV Sensor At BSC Expo

RED BSC Expo Weapon Mostro 8K

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#1 Sue Smith

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Posted 30 January 2018 - 01:55 PM

RED Digital Cinema® is showcasing its latest sensor technology, MONSTRO 8K VV, on Stand 426 at the BSC Expo, running Feb. 2-3 at the Battersea Evolution. MONSTRO is an evolutionary step in large-format sensor technology with improvements in image quality including dynamic range and shadow detail. The new cinematic, full-frame WEAPON® camera with the MONSTRO™ 8K VV sensor that launched in October 2017 is now available for purchase.

 

On Feb. 2 at 11:15 in the Seminar Room, RED and Mission Digital are hosting a conversation with Chris Ross, BSC and Mission Digital Managing Director Mark Purvis. They will discuss the shooting of FX’s flagship show Trust, directed by Danny Boyle and starring Donald Sutherland, Hilary Swank and Brendan Fraser. Attendees can learn how Ross and the post-production team approached the creative and technical aspects of one of the biggest television shows to be shot in the UK.

 

RED will also host a premier seminar with CHEAT colourist Toby Tomkins and Panavision Senior Vice President of Innovation Michael Cioni on “The Benefits of 8K RAW Workflow in High Resolution TV Delivery.” The event will take place Feb. 2 at 15:15 in the Seminar Room. The two will discuss using an 8K RAW workflow on feature films, as well as the recently released Netflix original TV series The End of the F***ing World. The series was shot on RED WEAPON 8K S35 by cinematographers Justin Brown and Ben Fordesman with Tomkins handling final color. Tomkins will share his insights and approach to managing high-resolution workflows and explain the value of RED's new Image Processing Pipeline (IPP2).

 

RED’s newest camera and sensor combination, WEAPON 8K VV, offers cinematic full frame lens coverage, captures 8K full format motion at up to 60 fps, produces ultra-detailed 35.4 megapixel stills, and delivers incredibly fast data speeds – up to 300 MB/s. And like all of RED’s DSMC2 cameras, WEAPON shoots simultaneous REDCODE® RAW and Apple ProRes or Avid DNxHD/HR recording and adheres to the company’s dedication to OBSOLESCENCE OBSOLETE® – a core operating principle that allows current RED owners to upgrade their technology as innovations are unveiled and move between camera systems without having to purchase all new gear.


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#2 Lewis Jelley

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Posted 31 January 2018 - 07:47 AM

I've booked to shoot a commercial with the Monstro in March, can't wait! Have heard amazing things from my rental house, who have had the chance to do a couple of tests. 


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#3 Daniel D. Teoli Jr.

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Posted 01 February 2018 - 07:32 PM

Wow, sounds exciting!

35.4 megapixels stills? What is the single frame mp image size when shot at normal speed?
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#4 Stuart Brereton

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Posted 17 February 2018 - 04:02 PM

35.4 megapixels stills? What is the single frame mp image size when shot at normal speed?

It's the same.


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#5 Phil Rhodes

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Posted 17 February 2018 - 07:59 PM

Lots of pixels.

 

But is it pretty?


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#6 Phil Connolly

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Posted 18 February 2018 - 05:22 AM

But is it pretty?

Its a black box with a skull on it, a long way from pretty.


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#7 Robin R Probyn

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Posted 18 February 2018 - 06:12 AM

To use one ..you must be pretty .. and have a flannel shirt..


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#8 Mark Dunn

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Posted 18 February 2018 - 12:21 PM

I'm halfway there, then, I've got a flannel shirt.

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#9 Phil Connolly

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Posted 18 February 2018 - 02:30 PM

Nah, flannel shirts are for Digital/Analogue Bolex users.

 

To properly fit in with the design of Red cameras you need to look like an extra from Mad Max.

 

I've got a black riveted jacket that looks a treat when partnered with the new the "RED: Bazooka camera", "RED:Vengeance Viewfinder" and "RED:My enemies die screaming - variable ND" 


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#10 Phil Rhodes

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Posted 18 February 2018 - 02:30 PM

with a skull on it

 

 

Am I the only person who finds this all a bit...

 

...teenager?


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#11 Phil Connolly

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Posted 18 February 2018 - 02:43 PM

 

 

Am I the only person who finds this all a bit...

 

...teenager?

In what sense? - making silly jokes about RED's questionable design choices or the general "film is war" design choices that RED makes.

 

In all seriousness, the last camera, I would own would be called a "Weapon" even if it was 8k. (8k = also silly)

 

I'm not accusing RED of inciting violence of course (that would be a "hot take" too far). But I find the whole Skulls and bomb viewfinders - very silly and not that appropriate on a film set. 

 

I guess you could cover it with gaffa tape and Arri stickers to make it look more presentable. 


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#12 Phil Rhodes

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Posted 18 February 2018 - 03:06 PM

But I find the whole Skulls and bomb viewfinders - very silly and not that appropriate on a film set.

 

Me too.


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#13 Dom Jaeger

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Posted 18 February 2018 - 04:24 PM

 To properly fit in with the design of Red cameras you need to look like an extra from Mad Max.
 
I've got a black riveted jacket that looks a treat when partnered with the new the "RED: Bazooka camera", "RED:Vengeance Viewfinder" and "RED:My enemies die screaming - variable ND"


When I clean a RED sensor I tie a bandanna around my head and pretend I'm defusing a landmine. Been lucky so far, but I've heard of other techs losing a limb.
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#14 Stuart Brereton

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Posted 18 February 2018 - 06:53 PM

 

 

Am I the only person who finds this all a bit...

 

...teenager?

Well, that is their target demographic.


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#15 Phil Rhodes

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Posted 18 February 2018 - 07:06 PM

Well, quite, and to my mind that's starting to make less and less sense.

 

When they came out with their first camera, it was affordable and had some big numbers associated with it. The rebellious attitude made se... well, I'm not sure it ever actually made sense, but it made more sense then than it does now.

 

Now, a "Red Weapon Woven Cf 8k - Standard" is £53K.

 

Ergo, they're significantly more expensive than (most predictions of) a Venice, which is (almost certain to be) quieter and doesn't have skulls on it.

 

I don't get it.


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#16 Stuart Brereton

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Posted 18 February 2018 - 08:48 PM

They are still staffed, and directed by the same team. Regardless of what the guys in R&D are doing, it's still Jarred Land and Jim Jannard guiding the ship. The base philosophy that made Jannard a billionaire from selling sunglasses hasn't gone away.


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#17 Phil Rhodes

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Posted 18 February 2018 - 10:06 PM

I think I understand the approach they're taking. What I don't understand is why it works. What we might call the Sunglasses Gambit works on $200 sunglasses and in 2006 it worked on a $16,000 4K camera. That surprised me. What absolutely astonishes me is that it still works on a £53k camera.

 

I don't think they're going to be selling too many of those to 18-year-olds making skateboarding documentaries.

 

P


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#18 Mark Kenfield

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Posted 18 February 2018 - 11:59 PM

I'm not really following you here guys. Red aren't selling $100,000 8k Vistavision cameras to 18 year-old dude-bros making skate videos. That's what their Raven camera is for.

The big-boy Reds sell to the big boy rental houses who are outfitting big-budget Netflix series, Marvel movies etc.

That's their approach.


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#19 Stuart Brereton

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Posted 19 February 2018 - 12:03 AM

I think I understand the approach they're taking. What I don't understand is why it works. What we might call the Sunglasses Gambit works on $200 sunglasses and in 2006 it worked on a $16,000 4K camera. That surprised me. What absolutely astonishes me is that it still works on a £53k camera.

 

I don't think they're going to be selling too many of those to 18-year-olds making skateboarding documentaries.

 

P

I agree. RED still seems to be locked in the mindset of the new, upstart camera system, despite its cameras being no cheaper than its competitors.

 

 

The big-boy Reds sell to the big boy rental houses who are outfitting big-budget Netflix series, Marvel movies etc.

So the question is; why do they still feel the need to indulge in the same adolescent marketing techniques that they were using 10 years ago, when they were selling to teenage skaters?


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#20 Mark Kenfield

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Posted 19 February 2018 - 01:52 AM

So the question is; why do they still feel the need to indulge in the same adolescent marketing techniques that they were using 10 years ago, when they were selling to teenage skaters?

If it ain't broke? 


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