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We shoot on RED Digital Cinema Cameras

We offer Video Production services and our clients are typically a mix of corporate brands expressing their message on who they are and why they exist. Or we work with companies who want to introduce a new product or service and share why they are unique. Whether the outlet is Broadcast, Social Media, or their Website/YouTube page, a majority of our cinematic videos are shot using RED Digital Cinema Cameras.

The RED Ranger Gemini is the most versatile camera we’ve ever used. With the Gemini, we feel RED stepped up its game! Older RED cameras have a contrast-y and somewhat crunched look, at least in terms of black levels. The traditional RED look is perfect for films or projects that need a gritty or dramatic look. But the Gemini changed that, adding a softer cinematic look similar to an ARRI Alexa Mini - at a much cheaper price point! Consider the Alexa’s or Canon c700’s price points and the bottom line is that RED makes affordable cameras. (RED also offers full 8K cameras for around the cost of an Alexa Mini. We chose the Gemini as it is better for our workflow.)

The r3d codec:

We feel RED’s r3d codec is the best codec in the business, and we’ve used them all in post-production! Not only does r3d work natively in Adobe Premiere Pro and Davinci Resolve, but it also allows for any level of compression while recording in-camera. We typically record at an 8:1 compression ratio to keep file sizes reasonable, but RED can shoot REDCODE Raw and QuickTime ProRes 4444HQ in 4K too if desired.

IPP2 color:

As Steven Gladstone at B&H in New York references in this article, IPP2 is the acronym for Image Processing Pipeline 2. And the Gemini is one of 5 RED Cameras to incorporate the new IPP2 color space; REDs new color-processing system for BRAINs including Monstro, Helium, Gemini, Weapon, and Epic-W.

The IPP2 color space comes into play both on set, in-camera, and while editing in post-production. In-camera, the RED’s new IPP2 color space replaces previous independent camera settings with the industry standards; meaning we now have the ability to match footage from other cameras more easily. IPP2 is geared toward an HDR image, giving you added ability to control what you’re recording in the field. Basically, IPP2 enabled cameras to allow you to record a one-stop brighter image than before when set to the identical ISO, T stop, and shutter speed.

But for us, in Post-Production is where IPP2 really shines! In both Adobe Premiere Pro and DaVinci Resolve, IPP2 gives an editor the ability to change or adjust any color setting on the footage recorded within the camera. Was the footage shot at the wrong color temperature? No problem, change it in the IPP2 settings on the master clip tab. Want to adjust the ISO? Just click between the standard options. Finally, IPP2 also allows you to change the footage to log (with Log3G10) where a colorist can grade the footage from scratch. It’s simply amazing!

High frame rate:

RED has something most high-end cinema cameras don’t- the ability to shoot up to 120 frames per second in 4K, allowing for beautiful cinematic slow-motion footage. And we use highly cinematic slow-motion footage a lot as a way to express a brand message or a company’s product or service.

When comparing the Ranger Gemini vs the Alexa mini or Canon c700, give us the RED every time! Are there video projects that the Canon Cinema line of cameras are better for? Sure- and we use them when and where it makes sense. But for the highest quality and cinematic look, especially when it comes to slow motion and beautifully colored footage, we shoot on RED.

Posted By Troy Waterman on 7-9-2020