To start, RED shoots 4K progressive images (4096x2304). For many, 4K resolution
has been the benchmark for comparison to 35mm film resolution. Traditional
HD cameras offers 2.1 mega pixels or less. RED is 12 mega pixels. This resolution
is five times more resolution than HDCAM (1920x1080). Because of this RED makes
a great choice for many post intensive effects like green screen composites,
resizing, creating source original stills as well as outputting to film or
event projection.
RED uses a PL lens mount so you can take advantage of the world’s best optics.
RED’s image sensor or “chip” is the size of a Super 35 gate in a film camera.
This larger image target is what gives the 35mm film format its wonderful depth
of field and selective focus and RED has this same size cinematic depth of
field. No ENG style 2/3” chip video camera is able to achieve this without
adaptors and image converters that are an added expense, inconvenient and sacrifice
your image quality.
RED’s workflow is tapeless and streamlined. There are no film stock or processing
costs. RED uses fixed media cards and drives for recording and can be edited
using Final Cut Pro. RED’s raw footage is a “non-destructive” RAW image similar
to a film negative and offers more color correction flexibility than any HD
format on the market. It is similar to working with a RAW file from a digital
SLR camera. This footage can then be edited and output to any format-- to a
film print or down-sampled to 1080p, 720p to standard definition. Whatever
format you pick for output your images will have all the attributes of a 35mm
image and the immediacy and convenience of a pure digital image.
In addition to 4K, RED can also shoot 3K and 2K if you don’t need all that
data for your workflow.
