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The Red Digital Cinema Camera Company is an American manufacturer of digital cinematography tools. It was founded and financed by Oakley founder Jim Jannard. The company primarily produces digital cinema video cameras but has also announced plans to produce a digital cinema projector and a movie distribution network. Contents 1 The Red One 1.1 Initial order process, 1.2 NAB 2007, 1.3 Recording media, 1.4 Firmware updates, 1.5 Field monitoring, 1.6 Performance issues, 1.7 Reception, , 2 REDCODE, 3 RedCine-X, 4 DSMC concept 4.1 Production Model, , 5 Epic-M and Epic-X 5.1 HDRx, , 6 Epic Dragon and Scarlet Dragon, 7 Scarlet-X 7.1 History, 7.2 Competitors, , 8 Red Ray Projector System, 9 Other Products 9.1 Lenses, 9.2 Displays, 9.3 Recording media, 9.4 Batteries, 9.5 Red Rocket, , 10 Lawsuits, 11 Notable works using the camera, 12 Competitors 12.1 In development, , 13 See also, 14 References, 15 External links, The Red One: Red announced their first camera at NAB 2006, the Red One. It was released in 2007. Initial order process: With a lot of advance promotion the Red One was accused of being vaporware. The camera was highly anticipated. Red ran a reservation for the Red One camera, requiring a $1,000 deposit, between April 24, 2006 and October 31, 2006. Around 1,000 cameras were reserved during that time. Reservations were reopened from January 21, 2007 until January 24, 2007. The first 1,080 reservation holders each received a machined titanium "R" with their future camera serial number engraved on it. On August 31, 2007, Red shipped the first 25 Red One cameras to pre-order customers. Subsequently the camera became available for general ordering, although through late 2008, there was a wait time of up to several months, as Red filled its order backlog for over 3,000 units. The pre-order process ended and the Red One became generally available in late 2008. NAB 2007: At the National Association of Broadcasters 2007 show in Las Vegas, three working Red One cameras were on display as well as all-day screenings of the 12-minute short entitled Crossing the Line directed by Peter Jackson using two alpha versions of the Red camera nicknamed Boris and Natasha. The alpha versions had nothing but a record/stop button and shot at 4K at 24 frames per second and a 180 degree shutter. All other features were unavailable. Initially expecting a standard camera test, when Jim Jannard, Jarred Land and Deanan Dasilva from Red arrived in New Zealand, they were surprised to learn that Peter Jackson intended to shoot a ten-minute short set in World War I featuring battles in trenches and in the air. The film was used to showcase the capabilities of the Red One camera in action rather than in controlled test environments. The film was shot in two days. Despite being feature-incomplete, Red assured booth visitors the camera would start shipping before the end of the year. At NAB 2007, Red announced that Redcode raw data generated by the camera can be converted using proprietary software called RedCine into a range of formats, including DPX. The Red One M sensor is an 11.5 megapixel Bayer pattern CMOS sensor. The sensor, called Mysterium, measures 24.4 mm by 13.7 mm, and has 4,520 by 2,540 active pixels, though the camera only records a window of those pixels in normal operation. The sensor is about the surface area of a traditional Super 35 film frame, creating a similar angle of view and depth of field as the Super 35 film format. When shooting at 2k resolution the used sensor window is the same as Super 16 film. This allows the camera to be used with Super 16 lenses. Red specifies the sensor's signal to noise ratio at greater than 66 dB, with 11.3 stops of total dynamic range. The default sensitivity is ISO 320. Red later shipped new cameras with the Mysterium-X sensor with higher signal to noise ratio and a native sensitivity of ISO 800 and improved dynamic range of about 13 stops, which had the same dimensions and pixel count as its predecessor. They also offered an upgrade program for older Red Ones to replace their Mysterium sensors with the Mysterium-X. The camera has an interchangeable lens mount system allowing for the use of industry-standard lens types. The default lens mount is a PL mount, the most common mount for modern 35 mm and 16 mm motion picture cameras. Adapters for 2/3" B4 lenses, and for Nikon F-mount lenses have also been created. At least two third-party suppliers have made a Canon EF lens mount for the Red One, which can provide full electronic control of EF lenses. The camera can record at several resolutions in a proprietary video lossy format called REDCODE, all recording is progressive scan. Lower resolutions are achieved by windowing the sensor. Frame size Width Height Mpix Aspect Ratio max. fps lowest possible REDCODE at 24 fps lowest possible REDCODE at max. fps 4.5K 4480 1920 8.6 2.33:1 30 8:1 8:1 4K 16:9 4096 2304 9.4 1.78:1 30 8:1 8:1 4K 4096 2048 8.4 2:1 30 8:1 8:1 4K UHDTV 3840 2160 8.3 1.78:1 30 8:1 8:1 4K ANA 2816 2304 6.5 2.44:1 30 8:1 8:1 3K 3072 1728 5.3 1.78:1 60 8:1 8:1 3K 3072 1536 4.7 2:1 60 8:1 8:1 3K ANA 2112 1728 3.8 2.44:1 60 8:1 8:1 2K 2048 1152 2.4 1.78:1 120 8:1 8:1 2K 2048 1024 2.1 2:1 120 8:1 8:1 2K ANA 1408 1152 1.6 2.44:1 120 8:1 8:1 Despite variable frame sizes, the Red One does not allow capture at standard definition or high definition resolutions. However, as part of the process of delivering the REDCODE data recorded by the camera, RedCine-X can be used to downscale to these resolutions for purposes of proxy editing or final output. After the required debayering process, the images resolution of the Red One is approximately 3,200 lines for the Red One M sensor and 3,700 lines for the Red MX sensor. The resolution advertised by Red Digital Cinema is the resolution of the camera's sensor, not the actual amount of resolvable pixels. Recording media: The Red One records footage to Redcode data files on disk- or flash-based digital storage. Four different recording units with SSD, other flash, or mechanical drives are available. Firmware updates: Red began shipping cameras with on-board software capable of adding additional features and bug fixes over time, via the camera's software updating mechanism. The current firmware release is a version of build 30. Since the initial release of the camera, new firmware releases have enabled sound, higher frame rates and better image quality, among other features. The latest firmware for Red One is v32.0.3. Field monitoring: Field monitoring is possible by using either Red displays or connecting a display to the HDMI or SDI port of the camera. The Red One generates a variety of data overlays which can be displayed on its video outputs, including histograms, waveform plots, false color exposure aids, time code, project recording formats, audio levels, and two different focus-assist displays. Unlike virtually all regular-HD video cameras, the Red One does not generate a video stream in-camera which represents its final product. Its real time monitoring outputs do not reflect the resolution and dynamic range captured in the raw files it records. The camera's live outputs are intended to be used only for on-set monitoring, similarly to the way a video tap is often used with film-based acquisition. The camera has four TA3 ("mini XLR") connectors, and can record up to four channels of 24-bit 48 kHz digital audio, with or without phantom power. The camera is based around a modular design concept. It has many mounting points; accessories like recording devices, viewfinders, etc. can be mounted to the camera, rather than being integral parts of the body. Performance issues: As with many CMOS-based cameras, images captured by the camera may show rolling shutter artifacts. Such cameras read data from the sensor line by line over a short period, rather than all at once, so each pixel in an image does not represent a single instant. Rolling shutter artifacts can cause vertical objects to appear to lean as the camera pans them horizontally, and can cause strobe effects like camera flashes or lightning strikes to appear only on portions of frames, creating a "tearing" effect. The effects of the rolling shutter have been improved in recent versions of the firmware, but have not been eliminated. Rolling shutter also appears on some film cameras, but they are not subject to the "tearing" symptom. Recently Red announced Motion mount global shutter with variable ND filter. This unit mounts in place of the original lens mount ( pl, canon, nikon mounts )This is an electronic unit and works off the camera supply. It uses polarization technology to form a "global shutter" over the new Dragon Cmos imager. Currently this retrofit retails for close to $3900. The red website carries a very descriptive information on this device. If the claims are to be believed, it solves the only "drawback" of the RED cinema cameras . Reception: The first feature film shot and completed on the Red One 4K was Red Canvas, starring Ernie Reyes, Jr. Director Steven Soderbergh shot the majority of the two-part Che with the Red One camera. After completing the films, Soderbergh stated: "this is the camera I've been waiting for my whole career: jaw-dropping imagery recorded on board a camera light enough to hold with one hand. I don't know how Jim and the Red team did it--and they won't tell me--but I know this: Red is going to change everything." The Academy Award-nominated District 9 was mostly shot using nine Red Ones. The film's producer, Peter Jackson, was one of the camera's earliest advocates, and has used it to shoot portions of his 2009 film The Lovely Bones. (Jackson would later on keep up to 48 Red Epic cameras in different setups for his 2012 shooting of The Hobbit.) Werner Herzog shot his 2009 film My Son, My Son, What Have Ye Done? with the Red One. He was disappointed with the camera's long reboot times, saying "It drove me insane, because sometimes something is happening and you can't just push the button and record it". He described the camera as "an immature camera created by computer people who do not have a sensibility or understanding for the value of high-precision mechanics". REDCODE: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2013) All current Red cameras record only in the REDCODE RAW codec. The codec offers a constant-bitrate wavelet compression with a compression ratio from 18:1 to 3:1. When it was introduced by Red the codec was the first to allow high bit depth Bayer sensor video data to be recorded to CompactFlash, mechanical hard disk or SSD media instead of a big external storage system. Being a lossy codec, decompression does not fully restore the original image data recorded by the sensor. Red claims the codec is "visually lossless", suggesting that the information loss is not visible to the naked eye when images are viewed. Since Redcode is a wavelet based codec, it is possible to extract lower resolutions from the video stream to get real time playback on lower end machines. Having a video stream that offers the same advantages of a raw image, it is possible to apply all kinds of image processing like white balancing, sharpening, gamma or exposure correction in a non-destructive manner like photographers do with their raw images. RedCine-X: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2013) RedCine-X is a closed source RAW converter provided by Red to decode the Redcode data stream. It can be used directly as a standalone RAW converter that transcodes .R3D files into other formats or it can be accessed via its SDK through other video editing applications to directly load .R3D files like a regular videostream. With the introduction of the Red Epic, there is the possibility to enable the HDRx feature that records two video streams in parallel. One normally exposed track (A-track) and one underexposed (X-track) track. The underexposed track can be blended together later via RedCineX to recover blown out highlights in the main video track. To recreate the motion blur there are two blending options available that were implemented by The Foundry into RedCine-X. Magic motion attempts to create a motion blur closer to the human perception of movement, meaning the resulting video stream will show motion blur as well as sharp edges for fast moving objects. More Natural Motion Blur emulates the motion blur one would get from a standard 180° shutter image like when shot with a film camera or a single exposure video stream. R3D files that were created before Red started to encrypt the files in the camera can be decoded with FFmpeg. Video streams that were created after that can only be decoded with proprietary software from Red. DSMC concept: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2013) In September 2008, Jim Jannard made several announcements on the RedUser forum: The first, posted on September 8, announced a "DSLR-killer" that was tentatively referred to as "DSMC, a Digital Still and Motion Camera"., Jannard posted a message on September 11 stating that "Epic...has changed." Eleven days later, on RedUser's companion discussion board ScarletUser, Jannard announced that Scarlet, was "not the same." Both products were pulled from the Red company website, replaced with temporary images stating that they were "Currently Undergoing Change.", On November 13, 2008 Red officially announced that the DSMC concept of an integrated Digital Still and Motion Camera system was to be the overarching philosophy of Red's future product lines., On 14 June 2010, Jannard posted that there would be another delay in Scarlet and EPIC production due to a firmware bug and Foxconn semiconductor closing the semiconductor fabrication plant that produced the sensors., On November 13, 2008, larger formats were announced, including a proposed expansion of up to 28,000 horizontal pixels, for a 261 megapixel sensor. Production Model: The concept involves camera components that are configurable and interchangeable to allow owners to replace various components as they are upgraded and improved. These components come together around a central piece called a Brain, which houses a sensor and the necessary electronics to record, encode, decode, and otherwise control the recorded images. As with the other modules, the Brains can be upgraded independently of the rest of the camera, and can also be swapped, so that a single project could use multiple Brains as needed, while otherwise maintaining a preferred configuration of the DSMC. Scarlet and Epic share the same modular design and are the two current lines of DSMC Brains. Epic-M and Epic-X: On April 15, 2010, an Epic prototype was demonstrated at an off-site meeting during the 2010 NAB show exhibition (Red did not have an official booth at NAB). The Epic-M was introduced in early 2011, the Epic-X in late 2011. They share the same technical features, the only differences are the manufacturing process and their delivery dates. The launch sensor, called Mysterium-X, is a 27.7 by 14.6 mm 5120 x 2700 pixel, 13.8 megapixel Bayer pattern 14 bit CMOS sensor which is rated at ISO 800 at daylight with a dynamic range of 13.5 stops. It has approximately the same surface area of a traditional Super 35 film frame masked to the 1.85:1 aspect ratio, creating a similar angle of view and depth of field as the Super 35 film format. The second sensor, yet to be released, the Dragon, is a 30.7 × 15.8 mm Bayer pattern 16 bit CMOS sensor which is rated at higher than ISO 2000 with a dynamic range of greater than 16+ stops. The camera utilises an interchangeable lens mount system allowing for the use of industry-standard lens types. PL mounts, the most common mount for modern 35 mm and 16 mm motion picture cameras are sold as well as Canon EF lens mounts, which provides full electronic control of EF lenses, Leica M-Mounts and Nikon mounts with full electronic iris and aperture control. The camera can record at several resolutions in the proprietary video codec REDCODE. Lower resolutions are achieved by windowing the sensor. Frame size Width Height Mpix Aspect Ratio max. fps max. fps HDRx lowest possible REDCODE at 24 fps lowest possible REDCODE at max. fps 5K 5120 2700 13.8 1.9:1 96 48 3:1 12:1 5K WS 5120 2134 10.9 2.4:1 120 60 3:1 12:1 4K 4096 2160 8.8 1.9:1 120 60 3:1 12:1 4K HD 3840 2160 8.2 1.78:1 120 60 3:1 12:1 3K 3072 1620 5.0 1.9:1 160 80 3:1 12:1 2K 2048 1080 2.2 1.9:1 300 120 3:1 12:1 Table shows maximum frame rates at different resolutions for the Epic camera. The camera is capable of recording at a data rate of up to 450 MB/s to proprietary SSDs called RedMags. The camera generates a variety of data overlays which can be displayed on its video outputs, including histograms, waveform plots, false color exposure aids, time code, project recording formats, audio levels, and two different focus-assist displays. Unlike most HD video cameras, the Red Epic does not generate a video stream in-camera which represents its final product. Its real time monitoring outputs do not reflect the resolution and dynamic range captured in the raw files it records. The camera's live outputs are intended to be used for on-set monitoring, similarly to the way a video tap is often used with film-based acquisition. The shutter speed can be set to any value that would correspond to a shutter angle of 1° to 359° in a film camera without creating the artifacts that a mechanical shutter creates in such a camera. Rolling shutter artifacts have been reduced significantly by the faster readout of the sensor compared to the Red One. Framerate on the Epic can be brought down to 1 fps to shoot time lapse footage with a user-definable shutter speed. The camera is based around a modular design concept. It has many mounting points for accessories like recording devices, viewfinders, etc. that can be mounted to the camera, rather than being integral parts of the body. Several cages, plates, and rail systems are available that provide protection or extra mounting points. HDRx: When enabling HDRx, the camera records a second underexposed video track to record highlight areas that are blown out in the main track. A user-definable shutter speed of between 2 to 6 stops less than the main track can be set - expanding the dynamic range of the video stream by the same amount, however Red does not recommend to go further than 3EV difference if not necessary. The underexposed frame is recorded directly before the main frame to reduce motion artifacts caused by misalignment of those two images. Shooting in HDRx reduces the achievable frame rate by half and doubles the data rate of the video stream. The two streams can be blended together later with RedCine-X. Epic Dragon and Scarlet Dragon: The Epic and Scarlet Dragons were finally announced on April 8, 2013. The Epic Dragon shoots a 6144 x 3160 image at up to 100 fps. The Scarlet Dragon uses the same sensor and can shoot a 5K image at up to 60 fps. Both cameras have 3+ more stops of dynamic range than the Epic-MX. All Epic and Scarlet owners were given the ability to upgrade all the way to Epic Dragon for a fee. The Dragon sensor is big enough that some cinema lenses will not fully cover it at 6K. Scarlet-X: The Scarlet-X is a professional digital motion picture and still camera system and features hardware very similar to the Red Epic. The maximum framerate for 5K is 12 fps. For 24 fps recording, the resolution has to be lowered to 4K by windowing the sensor, the frame rate goes up to 120 frames per second at 1K, the camera also features HDRx but with lower framerates as the Epic. Due to the same form factor and connectors all the available Epic accessories are usable with the Scarlet as well. History: The RED Scarlet program was announced on November 13, 2008 and upon announcement composed the less expensive half of the company's Digital Still Motion Camera program. The specifications that have been announced were a 3072x1620 pixel, 2/3 inch image sensor and an image processor capable of recording 120 frames per second in RED's proprietary format. It also included a non-removable 8X zoom lens 8x lens specifications: 28-224mm (35mm equivalent) T/2.4 throughout the zoom range as well as a model which uses an interchangeable lens system. Prototypes of both models have been demonstrated publicly since 2009. When first announced the camera was expected to be sold in 2009 for $3000. At CES 2010, a self-contained 3K resolution ⁄3 in sensor size Scarlet prototype with an attached lens was demonstrated. The camera was announced to be able to shoot up to 120 fps at 3K resolution. At the NAB 2011 a working prototype with a fixed lens and electronic aperture control was shown. On November 3, 2011, the firm officially revealed the new system, with the same S35 Mysterium-X sensor and only minor changes in the housing as the Red Epic. The camera can record at several resolutions in the proprietary video codec REDCODE. Lower resolutions are achieved by windowing the sensor. Maximum data rate for Scarlet camera is 55 MB per second (440 Mbit/s) Frame size Width Height Mpix Aspect Ratio Maximum fps Maximum fps HDRx least compression at 24 fps least compression at maximum fps 5K 5120 2700 13.8 1.9:1 12 6 NA, 24 fps is not possible at 5K 5:1 4K 4096 2160 8.8 1.9:1 25 12 6:1 6:1 4K HD 3840 2160 8.2 1.78:1 30 15 6:1 7:1 3K 3072 1620 5.0 1.9:1 48 25 4:1 7:1 2K 2048 1080 2.2 1.9:1 60 30 3:1 4:1 1K 1024 540 0.6 1.9:1 120 60 3:1 3:1 Table shows maximum frame rates at different resolutions for the Scarlet camera. The audio system provides 2 channel, uncompressed, 24 bit, 48 kHz audio. Optional 4 channel, and KUS / EBU digital audio. Competitors: These competitors have similar features and pricing. Blackmagic Design Blackmagic Cinema Camera (2.5K with 15.81mm x 8.88mm sensor), Canon C300 (S35 sized 16:9 sensor, 1080p), Sony F3 (S35 sized 16:9 sensor, 1080p), Sony FS700 (S35 sized 16:9 sensor, 4K), Sony NEX-FS100 (S35 sized 16:9 sensor, native 1080p), Red Ray Projector System: The Red Ray Projector was announced at NAB 2012. The Red Ray Projector System consists of three parts: the Red Ray Pro Player, Red Ray Projector Laser Module(s) and the Red Ray Projector. The projector is named after the Red Ray codec, a compression algorithm which allows 4K video to be compressed to a bitrate of 10-15 megabits/second with quality high enough for cinema projection. The initial purpose of the codec was to create a 4K competitor to Blu-ray Disc that could be distributed on DVDs. The Red Ray Projector is capable of displaying 4K footage at 120 fps in 3D. It uses separate laser modules to generate light so that the heat generating components that require fan cooling can be kept out of the projection room. The use of multiple laser modules allows it to be scalable to different sizes of screens. One laser module is supposed to accommodate up to a 15 foot screen. The prototype also uses the same Red Pro Prime lenses sold with their camera system. It is supposed to ship at the end of 2012 for less than $10,000 including the Red Ray Player digital content server. Red has also suggested that they will be selling high quality screen material given the high cost of 3D compatible screens. Other Products: Lenses: The firm has a series of self-branded spherical PL mount prime and zoom lenses. These lenses have an image circle that covers the sensors or frame size of Red Epic and film cameras. Name Focal range t-stop Weight Red Pro Prime 18mm 1.8 6.45 lbs Red Pro Prime 25mm 1.8 6.16 lbs Red Pro Prime 35mm 1.8 6.07 lbs Red Pro Prime 50mm 1.8 4.53 lbs Red Pro Prime 85mm 1.8 4.2 lbs Red Pro Prime 100mm 1.8 4.39 lbs Red Pro Prime 300mm 2.9 5.67 lbs Red Pro Zoom 17-50mm 2.9 3.2 lbs Red Pro Zoom 18-85mm 2.9 9.9 lbs As of 3/1/12 the 50mm is no longer for sale from RED In Q1 of 2010, the 18-50 mm t/2.9 zoom was replaced by a 17-50 mm t/2.9 zoom. In January 14, 2010 the firm announced that a set of anamorphic prime lenses with a focal length of 35mm, 50mm 85mm and 100mm with t/2.4 was in development. In October 20, 2010 Jarred Land confirmed that those lenses are still in development. Displays: Four first party, on-camera monitoring options are available for the cameras. The screens and the viewfinder connect through a proprietary interface and rely on in-camera processing to generate their data displays, making them compatible only with this brand. Name Size Resolution ppi touch screen BOMB EVF n.a. 1280x784 n.a. no RED TOUCH 5.0" LCD 5" 800x480 187 yes RED TOUCH 9.0" LCD 9" 1280x784 187 yes RED PRO LCD (7") 7" 1024x600 170 no RED LCD (5.6") 5.6" 1024x600 212 no Recording media: The Red cameras record footage to Redcode data files on mechanical hard disk or flash-based digital storage. Epic and Scarlet brains can only record to Redmag SSD Drives. The Red-Drive is a 640 GB external hard drive based digital magazine, containing two 2.5 in hard drives in a RAID 0 configuration. It can record over two hours of 4K footage depending on the compression ratio of REDCODE. A Red-Drive is usually mounted in a cradle attached to the camera's rod support system. The drive connects to the camera via a special locking connector, though the camera and the drive communicate using the mass storage SATA standard protocol. The drive has FireWire 800, FireWire 400 and USB 2.0 ports, and appears as an external hard drive. The drive was phased out and discontinued in 2010. The current Red-RAM storage device is a solid-state drive which allows for significantly longer recording times than a compact flash card while eliminating the issues related to mechanical hard drives. (Red branded Compact Flash cards were available in 8 and 16 Gb sizes.) RedMags and RedMag minis are the latest storage media introduced by Red and currently the only officially supported media type for the DSMC line. The SSD cards are colour-coded to differentiate their transfer speed and are available in the following size: Size MB/s colour availability 48GB 112 grey available 64GB 225 black available 128GB 225 black available 256GB 225 black available 512GB 450 red available mini 64GB n/a black soon mini 128GB n/a black soon mini 256GB n/a black soon Batteries: The RedVolt batteries have a 30 Wh capacity and are specifically designed for the DSMC system. They fit into the side handle like a DSLR battery or can be put into a back mounted battery holder. The RedVolt XL offers 89Wh of capacity but requires the Pro Battery Module. Red Brick is a V-mount battery that offers 140 Wh. The original DSMC firmware for the Epic had little power management features built in which led to the camera using 60 watts of power on average. This meant that a 30 watt hour battery would last 30 minutes. Since then, firmware updates have significantly reduced power usage, with the 4.0 firmware being released in December 2012 being expected to halve power usage from the baseline. Red Rocket: Red Rocket is an internal PCI Express card that is capable of 4K, 2K, or 1080p real-time debayering and video playback of R3D files. It can be used to accelerate video editing in compatible Non-linear editing systems, outputting the image via HD-SDI to a user-supplied monitor. A breakout box component of the Red Rocket allows users to convert the HD-SDI signal to four HDMI outputs. Lawsuits: On August 18, 2008, RED filed a lawsuit against the electronics company LG over its use of the name Scarlet. RED accused LG "...of taking the "Scarlet" brand name from the camera company, despite RED's denial of their request." On September 23, 2011 Jim Jannard announced that his personal email account was compromised by former Arri executive Michael Bravin. A lawsuit against Arri and Bravin was filed at the end of 2011, and settled and dismissed in 2013. On June 27, 2012 Red sued Wooden Camera, a manufacturer of third party accessories, for patent infringement. In February of 2013, Red filed for an injunction against Sony, claiming that several of its new CineAlta products, particularly the 4K-capable F65, infringed on patents the company held. They requested that Sony not only be forced to stop selling the cameras, but that they also be destroyed as well. Sony filed a countersuit against Red in April of 2013, alleging that Red's entire product line infringed on Sony patents. In July 2013, both parties filed jointly for dismissal, and as of July 20, 2013, the case is closed. Notable works using the camera: Red Dwarf: Back to Earth was the first UK TV series to shoot with the Red One camera, as well as being the first ever sitcom to use them., Antichrist (2009), The 2009 short The Butterfly Circus was shot using the Red One camera, as was the same director's previous short "Stained" which was the first film shot on the Red One to win Best Film at a festival., Sanctuary was the first television series in North America to use the Red One camera exclusively., In 2009, Tamil film Unnaipol Oruvan was fully shot using Red One cameras., In 2008, Sinhala film Ran Kewita ii was shot using a Red One camera., The TV series Leverage was shot with the Red One camera and all production was completed without using physical film or videotape., Steven Soderbergh shot Che, The Girlfriend Experience and The Informant! with the Red One, Contagion and Haywire with the Red One MX, and Magic Mike, Side Effects and Behind the Candelabra with the Red Epic., The 2010 film Beginners, directed by Mike Mills, cinematography by Kasper Tuxen and starring Ewan McGregor, Christopher Plummer and Mélanie Laurent, was filmed with Red One., In 2010, the Oscar winning short film God of Love was shot using Red One cameras., Director David Fincher's 2010 biopic about Facebook creator Mark Zuckerberg, The Social Network, was one of the first films to be shot with the RED One's updated Mysterium-X sensor. It became the first motion picture to be shot, edited and presented in the camera's native 4K resolution. Fincher also shot his 2011 Girl with the Dragon Tattoo with both the RED One (also fitted with the Mysterium-X sensor) and an early RED Epic which became available late in the project., In 2010, the black comedy FX TV series Louie was shot using Louis C.K's own RED One camera. To date, all three seasons have been shot with the camera. Sometime presumably during the third season, Louis C. K. also purchased a RED Epic, and it is expected that it will be used during the show's fourth season., Qlimax (2011) was captured live with 10 RED Epics. It was the first event in The Netherlands which was only filmed by RED filmcameras in a multicam set-up., Justified beginning with the third season was shot on RED Epic cameras., Parts of the 2012 Joss Whedon-helmed Much Ado About Nothing were shot on RED Epic cameras., In 2012, the science-fiction comedy Iron Sky was filmed in Red camera format., The tenth series of Red Dwarf was filmed with the Red cameras, and was shot in front of a studio audience., Ridley Scott's Prometheus, the director's first digital feature, was shot with the RED Epic in 3D., In 2012, director Peter Jackson shot The Hobbit film series on 24 pairs of RED Epics to film in 3D and at 48 fps., The music video for "Can't Hold Us" by Macklemore and Ryan Lewis., One Direction: This Is Us, an upcoming 3D concert film centered in the lives of British-Irish boy band One Direction as well as their lives touring on the road., Bilal Lashari's 2013 action-thriller film Waar was shot mostly with the RED MX., Lingusamy's Untitled film featuring Suriya, Samantha, Prakash Raj is to be shot with Red Dragon Digital Camera by ace cameraman Santosh Sivan., Competitors: These competitors have very similar features and some are already in wide use by the film industry. Arriflex Alexa A-EV, A-EV Plus, A-OV Plus (35 mm, 2.9K), Arriflex D-20/21 (35 mm sensor size, 1080p output in HD mode, 3K in data mode), Dalsa Origin (35 mm, 4K), F-23 (Sony CineAlta) (⁄3 in, 1080p), F-35 (Sony CineAlta) (35 mm, 1080p), F-65 (Sony CineAlta) (35 mm, 4K and up to 8K, 120 frame/s), Panavision Genesis (35 mm, 1080p), Silicon Imaging (⁄3 in, 2K), Thomson Viper FilmStream (⁄3 in, 1080p), Weisscam HS-2 MKII, Vision Research Phantom65 (65 mm, 4K, 125 frame/s), Vision Research PhantomHD (35 mm, 2K, 1000 frame/s), Blackmagic Cinema Camera by Blackmagic Design (2.5K sensor, dynamic range of 13 f-stops), CineForm by Cineform, In development: Aaton Delta Penelope (S35 4K or more, CinemaDNG), Ikonoskop A-cam DII (16 mm, 1080p, CinemaDNG), Kinetta Camera (sensor agnostic), KineRAW (S35, 2K)

Source: Wikipedia

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