After reserving a serial number almost a year ago, Del Padre Digital’s newest acquisition is here. We’ve recently added the lauded ‘RED ONE’ Ultra High Definition Digital Cinema Camera to our equipment roster, allowing us to offer clients video with a dynamic, film-like look and feel. RED is an entirely new digital motion picture camera and the first that matches the detail and richness of analog film. It has an expansive format in which to shoot and handle postproduction, with over five times the amount of image information available each frame when compared to a typical HD rig. The system, which is available for shooting in Western Mass, Boston, Hartford, New York and nationally from Del Padre’s home base in East Longmeadow, Mass. , also offers image quality that is on par with 35mm film, if not better, as the RED captures footage in a RAW format and allows for a full digital workflow.
Typical high-end HD cameras have 2.1M pixel sensors and record with 3:1:1 color sub-sampled video at 30fps. The RED ONE, however, includes the Mysterium™ Super 35mm cine sized sensor that provides capture at 4K up to 30 fps, 3K up to 60 fps and 2K up to 120 fps with wide dynamic range and color space in 12 bit native RAW plus greater than 66db dynamic range. Too technical? Just think of it as being the digital equivalent of film. According to the RED ONE’s developers, viewers that see RED footage for the first time either describe the quality as 65 mm film or as ‘grainless 35.’
Why Shoot in 4K?
The RED ONE Cinema camera allows you the option to shoot in 2K, 3K, or 4K. When in 4K, the entire Mysterium sensor is utilized, delivering a picture resolution of 4096×2304. In comparison, most of today’s HD cameras output an image of 1920×1080, but in reality only record an image 1440×1080 and have to res-up to a full HD image. As you can see in the diagram below, the RED ONE captures significantly more information than is required by any of today’s output methods, thus eliminating the need to up-rez.
We use a set of Nikon Prime lenses with the RED, allowing depth of field control, which blurs the foreground or background; the trademark of film production. In addition, the RED offers variable frame rates, up to 120 frames per second, for slow-motion applications.
And, there are other advantages, including cost savings with the elimination of film and processing and the ability to watch dailies in real time. With applications including corporate video production, commercials for television and Web, documentaries, music videos, and short-and feature-length films, the RED workflow adds an exciting aspect to Del Padre Digital’s expertise in high-end video production.