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The Mysterium X sensor is more sensitive than the original Mysterium sensor and also has less noise. I always set exposure with my RAW histogram. It's somewhat difficult to nail down the which ASA matches the histogram most accurately due to the fact that the non raw histogram is affected my...

RED just released plugins for Adobe After FX and Premiere that allow the programs to work natively with the raw R3D files that the RED camera shoots. This significantly improves the workflow on the PC with no additional software or 3rd party plugins, and it is free, although it does require CS4...

RED recently announced some major changes to their designs on their next generation cameras. They also revealed more information on their DSMC camera system, or Digital Still and Motion Camera. This was not just minor design changes, but rather a major change in philosphy. The major change...

Very few cameras support the full actual resolution of their format. The HVX200 for example has 3 sensors each having a resolution of 540 by 960. The HDV format itself only supports 1440 by 1080 instead of the true 1920 by 1080 of 1080p. The EX1 is one of the few cameras available that...

The image sensors on the RED One and Scarlet cameras are Bayer Pattern CMOS sensors. This is the same sort of sensor that you see on digital SLR cameras and in order to get color from a single chip they have red green and blue pixels. Half of the pixels are green while one quarter are blue and...

The SDK has been released from RED and there are some exciting new post options available now, and more in the near future. Cineform now has support for RED on Premiere on the PC. RED and Adobe announced that native R3D support in both Premiere Pro and AfterFX will be available soon. Probably...

The RED ONE camera has a much larger image sensor than the 2/3" image sensors of cameras like the Varicam and F900 Cine-Alta. It is roughly the size of a super 35 film plane and it has a PL mount allowing it to use standard 35mm film lenses. One of the things that makes an image cinematic, is...

A more apples to apples comparison will definitely be RED's Scarlet camera and an EX1, where the price will be much more comparable, and we will be comparing two fixed lens cameras. Scarlet will be built using much of the technology from the RED One camera, so many aspects of this debate are...

With all the excitement about the RED camera, it's still out of the reach of most independent and student film makers. A couple months ago RED released some information about a new RED camera named Scarlet that will be out sometime early in 2009. This is a completely different beast than the...

Thanks for posting the info about the article. There are a lot of questions about the post workflow for RED. A lot if going to change in the next few months when the SDK becomes available, and it is important that these workflows are understood.

The HVX runs for roughly $4500 and the EX1 runs for about $6500. So the EX1 is a fair amount more. As far as finding out the actual chip resolutions, you can check the specs pages in the manuals, look up detailed reviews online or check well informed forums. I think that in it's pricerange...

The HVX is considerably older than the EX1, and was top dog in it's category for a long time. It still does what it always did, there's just a newer better camera in that range now. I've seen great stuff shot on the HVX. I've also seen less than impressive stuff shot with them. It's just a...

The EX1 is a significantly better camera than the HVX. I'll give the HVX credit though, it's a good camera, but there is a big difference in image quality. Not all 1080p is truly 1080p. The image sensors on the HVX are 1/3" CCD sensors with a resolution of 960x540. The camera does pixel...

These are the two cameras out right now that I am particularily excited about. They are in completely different classes and price ranges, but both are, in my opinion top in their class. Let's look at the contenders. RED ONE...the impressive 4K digital cinema camera. It takes 35mm lenses, it...

It's great to see the LA User group being so active. I'm not from LA, but I'll be there later this month. To bad I'm going to miss the meeting by a few days though It would be cool to meet you guys.

Well RED camera rentals vary a lot based on what you need included in the package and where you are located. Probably the best option is to find out who has cameras in your area, and hook you up with them. PM me and I'll help you find a camera in your area. We currently own some glass of our...

The learning curve is going to be different depending on your background. those who come from a background of using fixed lens cameras will have a bit to learn about film lenses and shallow focus. There will be times when they could have operated alone in the past but now they need an AC to...

The RED ONE camera is $17,500 for the base camera body, but it really takes about $25,000 to have any sort of workable system. It can easily be scaled up to $100,000 with lenses and pro film gear, or it can be configured with still camera lenses, and a very basic setup. It's more modular than...

There are several advantages to the RED ONE over traditional video cameras. The most significant to me is the abitlity to use 35mm lenses. 35mm glass has a shallower depth of field, which allows for very selective focus. This is one of the most important things to make a cinematic image. The...

It's pretty hard to go anywhere in this industry and not hear about the revolutionary new RED camera. But in case you haven't heard of this camera, or don't know really what it is, or why it is revolutionary, here is some info. The RED ONE camera is a 4K digital cinema camera. It is initially...