RED #75 - Los Angeles, CA

[radiant]

RED 4K DIGITAL CINEMA PACKAGE


With or Without DIT
Full Cinema Package or Just Accessories and Support

Our production ready camera is available worldwide. We have successfuly completed the following on the RED.
From -18 °C to +48 °C
From Moscow to Argentina

(2) Feature Films
(6) Commercials
(2) Music Videos
(2) Short Films
(1) infomercial

BODY:

(1) RED One 4K Camera (Version 2 new fully updated model)
(1) Red Compact Flash Module

MOUNTING:

Production pack +
(1) Universal Mount
(1) RED Grip Handle (Right)
(1) RED Bottom Plate
(1) Shoulder Dovetail
(1) Top Mount
(1) Top Handle
(1) RED Drive Cradle (including Battery Plate)

ADDITIONAL MOUNTS:

(2) 12", 18", & 24" Element Technica Light Alloy & Carbon Rods
(1) 15mm Rod Adaptor
(1) Element Technica ARRI 19MM Base
(1) Element Technica ARRI 15MM Base
(1) ARRI bridge plate 15mm
(1) Arri Sliding Base Plate
(1) Red Handle Mount
(1) RED Grip Handle (Left)
(1) Top Handle + Extension
(4) Universal Mounts
(4) Side Handle
(1) RED Cheese Plate
(1) Focus Hook set

POWER:

(2) Red Charger
(5) Red Brick
(1) Drive Cradle & Battery Plate
(1) Battery Belt Clip
(1) Red Quick Plate
(1) AC Power Adapter
(1) Hot Swap Battery Supply

MONITORING:

(1) Red 5.6" LCD
Red EVF (In Stock)
Panasonic 8.4" HD LCD
Panasonic 17" HD LCD
Panasonic 26" HD LCD
Marshall 7" HD LCD
Transvideo 5.6" Super Bright LCD
AJA Downconverter

STORAGE:

(3) 320GB RED Raid Drives (2.5 hours of full 4K recording time per drive)
(40) Red 8GB Compact Flash Cards (4.5 min of full 4K recording per card)

LENS:

(1) RED 18-50mm T3 Zoom Lens
(1) RED Nikon Lens Mount

ADDITIONAL LENS:

• Arri Master Primes T1.3: 14, 18, 21, 25, 35, 40, 50, 75, 100
• Arri Zeiss Super Speed T1.3: 18, 25, 35, 50, 65 & 85 / 100 & 135 T2.0
• Cooke S4's 14, 18, 21, 32, 40, 50, 75, 100 & 135
• Cooke Mark II T 3.0 18-100mm
• Cooke Mark II T4.0 25-250

OFFLOAD STATION:

• 17" Macbook Pro 2.6Ghz with FCP (Offload Station)
• Hoodman UDMA 800/400 Card Reader
• HyperDrive 250GB CF Card Backup System

SUPPORT:

• Arri Geared Head II
• O'connor 2575 Fluid Head
• O'connor Carbon Sticks

MATTEBOX & FOLLOW FOCUS:

• Arri LMB-5 Mattebox (Clamp-On)
• Arri MB-20 Mattebox 19 & 15mm Support
• Arri FF4 Follow Focus
• Arri FF5 Follow Focus
• Preston Wireless FI+Z System

OTHER EQUIPMENT AVAILABLE:

• Backup RED Camera Body
• Angenieux Optimo 24-290 T2.8
• Arri Master Primes: 18, 21, 32, 40, 50, 65, 75 & 100 T1.3
• Raid Hard Drive: Fiber Channel & Sata
• HMI Joker 200, 400 , 800 & Arri Sun 1200
• Kino-Flo & LED Light Panels 1X1
• Electrosonics 411 Series Wireless Mic.
• Steadicam Flyer 24 HD
• Wireless Video Trans & Receiver.
• Cine Tape
• Clockit Box

Please Click Here For Immediate Quote:


t: 323.500.4520
e: info@hdcamerarentals.com
w: http://redcamerarentals.com

[radiant]

We are currently shooting a feature film in Shreveport Louisiana with
Peter Hyams the Director/DP of such films as:
2010, End Of Days, The Musketeer and The Presidio just to name a few.
(Click link for IMBD) and starring Michael Douglas, Amber Tamblyn & Jesse Metcalfe.

We're shooting in 4K with final output of 4K film scan. The workflow, along with the immediate response of what you see is what you get (to a certain degree),
makes the process of filmmaking more responsive and for most cases faster.
It's like having your negatives developed on set and then having them instantly available to you. There is no more guess work involved.
We were very fortunate to have had full support of Apple and Red in order to help us create a very efficient workflow.

The Red responds really well under low light. We're shooting most of our scenes with available light/ practical light.
The amount of details in the highlights and shadows is unlike what any high definition camera could ever capture.

We are doing a lot of in-camera color adjustment due to the fact that Quicktime proxy files create a flat pass and create more of a washed out low contrast image.
Since this can affect the look of your dailies, it was unacceptable for Peter. Therefore, in-camera color adjustments were necessary.
The other solution would have been to use Red Alert or Red Cine to set your contrast and your gamma curves, but this process is time-consuming when producing dailies on set.

As far as image quality and the organic feel, it's not even close to film. It's still digital, but offers another available tool for the appropriate project or vision.

We are putting the Red through a full test with all available accessories.
The camera has responded so well, even prompting Michael Douglas to inquire on the Red's capabilities while on set.
We are currently shooting with the following:

6 x Reds,
2 x EVF's
6 x Arri 19mm Base Plate Sliding Dove Tail & Full Cinema Support
6 x Hot-Swap Battery Supply for RED Cameras (non-stop shooting)
1 x Set of Arri Master Primes: 14, 18, 21, 35, 40, 50, 75 & 100mm T1.3
1 x Arri Ultra Prime 180mm T2.0
1 x Arri Prime 100mm T2.0
1 x Arri Prime 135mm T2.0
1 x Cooke 18-100 Mark II T3.0
1 x Cooke 25-250 Mark II T4.0
2 x Steadicams
1 x Super Techno Crane
2 x ArriHead 2 Geared Head
9 x Panasonic 8.4" HD LCD Monitors with Waveform
7 x Panasonic 17" HD LCD Monitors with Waveform
1 x Panasonic 26" HD LCD Monitor with waveform
5 x Preston Full Fiz Wireless Follow Focus Systems
1 x Viewfactor Prototype Remote VTR Start and Stop
6 x MB20 4 x5 Mattebox
2 x MB14 6x6 Mattebox
2 x LMB5 4x5 Clamp-on Mattebox
6 x FF5 Follow Focus
4 x Cine Tapes
6 x Ambient Clockit Boxes
1 x HyperDrive (This is the world's Fastest Memory Card Backup system)

Along with everything else needed to support a feature film of this magnitude.
This new digital technology is simply phenomenal and will change cinema.

Thank You