“The RED systems deliver exceptional color fidelity while supporting the cinematic aesthetic we envisioned.” — Kevin Lieberman. Explore how RED's V-RAPTOR XL cameras helped bring the cinematic vision of Rush’s Fifty Something Tour to life. Read more ► https://lnkd.in/eeccfqyx
About us
RED Digital Cinema is a leading manufacturer of professional digital cameras and accessories. In 2006, RED began a revolution with the 4K RED ONE digital cinema camera. By 2008, RED had released the DSMC (Digital Stills and Motion Camera) system that allowed the same camera to be used on award-winning features, television, commercials, music videos and magazine covers like “Vogue” and “Harper's Bazaar.” Today, RED cameras are being used on some of the most lauded movies and episodics, including award winners “Mank,” “Squid Game,” “Hacks,” “Navalny,” “The Queen’s Gambit,” and “The Deepest Breath.” RED’s latest technology includes the highly advanced V-RAPTOR [X] and V-RAPTOR XL [X] systems, the flagship DSMC3 generation systems and the first available large format global shutter cinema cameras. The RED lineup also includes KOMODO-X and KOMODO, which features a global shutter sensor in a shockingly small and versatile form factor. Also available is RED Connect, a license-enabled feature that unlocks up to 8K 120FPS live cinematic streaming from the V-RAPTOR line of cameras. Find additional information at www.RED.com.
- Website
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http://www.red.com
External link for RED Digital Cinema
- Industry
- Media Production
- Company size
- 201-500 employees
- Headquarters
- Foothill Ranch, CA
- Type
- Public Company
- Founded
- 2005
Locations
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Primary
Get directions
94 Icon
Foothill Ranch, CA 92610, US
Employees at RED Digital Cinema
Updates
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Multi-Emmy and ASC Award-winning cinematographer M. David Mullen, ASC, takes us behind the look of his work, sharing his approach to visual storytelling, collaboration, and the creative choices that shape emotionally resonant images. Known for his cinematography on The Marvelous Mrs. Maisel, Étoile, Smash, Big Love, United States of Tara, and the upcoming Eloise, Mullen reflects on a career shaped by film history, evolving technology, and finding the right tools for every story. Watch the full Behind the Look conversation here ► https://lnkd.in/e3zNQjEM
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Writer-director Meera Menon and cinematographer-writer Paul Gleason take us behind the craft of independent filmmaking, sharing how they shape visual language through intentional framing, lighting, and movement while turning creative challenges into opportunities. Watch the full Shoot to Create: The Craft of Independent Filmmaking panel from Cine Gear Expo 2026 here ► https://lnkd.in/eYc3wguQ
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Ten years ago today, Hawkins, Indiana, lost a boy and gained a monster. The early seasons of Netflix's Stranger Things, #ShotonRED by cinematographer Tim Ives, ASC, introduced one of the most iconic visual languages in television history. Happy 10th anniversary to the Duffer Brothers and the entire cast and crew!
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Trade Up to V-RAPTOR [X], now extended through August 31. There’s still time to trade in an eligible camera and receive up to $10,000 toward a new V-RAPTOR XL [X], V-RAPTOR [X], or V-RAPTOR XE. https://lnkd.in/eGp-KXSc
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Director and Cinematographer Robert Hofmeyr has spent the past two years documenting an extraordinary sisterhood of lionesses living in the contested territory between two much larger prides along Botswana's Chobe River. The Misfits: Undercats of the Chobe River follows four lionesses that survive against the odds without dominant males, relying instead on cooperation, intelligence and resilience to protect their cubs in one of Africa's most competitive ecosystems. Over 26 weeks in the field, Robert captured more than 250 hours of 8K RAW footage on V-RAPTOR to tell their remarkable story. Learn more and support the project ► https://lnkd.in/eJ6VBBB9
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Emmy-nominated DP Adam Bricker, ASC joins ASC Clubhouse Conversations to discuss the making of the fifth and final season of Hacks. From developing the show's distinct visual language to pioneering on-set workflow innovations and filming the emotional finale in Paris, Adam shares the creative and technical decisions behind five seasons of visual storytelling. Watch the full conversation ► https://lnkd.in/ejBQSH7G
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RED Digital Cinema reposted this
DEATHBYROMY XR. Before anyone asks: this isn't a photograph, and it isn't AI. It's "dynamic Gaussian splatting" — quite possibly the worst name in tech for something this good. Holographic capture, if you'd rather. The band played it once. We've been filming it ever since. Single take, captured on a 75-camera 8K RED V-Raptor [X] volumetric rig, then rebuilt in 3D. Once the performance is data, it doesn't go anywhere — so we can take our time with it, move the camera wherever we want, and get properly meticulous long after the band have packed up and gone home. None of this exists without Aina Tech, Inc. , our partners in the US and the technical brains behind the whole thing — the prowess and the sheer nerve to pull a capture like this off. This clip is a 2D render a bespoke Unity / Deckard Render pipeline, built and run by Oliver Pavicevic — volumetric light, real-lens character, bokeh and shallow depth of field, all put back into a virtual camera. From the same capture we also went the other way: past photo-real into something stranger, blending 4DGS with 2D FX through the GSOPS (David Rhodes CG Nomads Ltd) Gaussian splat pipeline in Houdini, beautifully crafted by 3D artist and Creative Director Dave Webster. (link to visuals below) One performance. Delivered as both a photo-real 2D film and simultaneously a surrealist CG environment for holographic display, an XR headset piece — or straight into a web browser. Check out how we did it full BTS here and VFX breakdown coming soon.. BTS: … https://lnkd.in/eRDE28dv Visuals ... https://lnkd.in/e5B8EC4y | https://lnkd.in/edtc6x72 Full film on Youtube: … https://lnkd.in/erF_UQDx Web data sample — a few raw frames delivered in the browser, plus our new realtime point-cloud control of the splats to play with: … https://prism-ai.io/dbr-xr powered by PlayCanvas The full XR experience — headset and all — isn't public yet. We're showing it as a private tech demo ahead of release, and it will launch properly at a festival this summer — details to follow. Want a look before then? Get in touch at info@prism-ai.io Credits where they're due: DEATHBYROMY — for a performance worth every bit of this effort. Aina Tech, Inc. — our partners stateside. RED Digital Cinema — Jeff Goodman and the team, for the technical backing that made it work. Creamsource — for a lighting package that dealt with a frankly ridiculous amount of light and technical challenges we threw at them. Satellite Lab — for providing some unbelievably nerdy tech that's already got us plotting what's next. And finally, the crew (full credits list with the XR release). The people who actually made this happen — Thank you. #VolumetricCapture #GaussianSplatting #XR #VirtualProduction #LiveMusic #4DGS
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Host Michael Valinsky welcomes award-winning cinematographer Jeff Hester to The Making Of podcast to discuss the filmmaking behind Nat Geo's Hammerhead Sharks Up Close. From filming underwater alongside hammerhead sharks to the camera systems and techniques behind the imagery, Jeff offers an inside look at bringing the film to life. Listen now ► https://lnkd.in/eYWyRnTC #ShotonRED #SharksonRED
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