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skate - shot on red #1347 - 120 fps from Opus Magnum Production on Vimeo.
Video by opus magnum prod. More Red One video at Vimeo. It's more than that: His team of engineers and scientists have created the first digital movie camera that matches the detail and richness of analog film. The Red One records motion in a whopping 4,096 lines of horizontal resolution—"4K" in filmmaker lingo—and 2,304 of vertical. For comparison, hi-def digital movies like Sin City and the Star Wars prequels top out at 1,920 by 1,080, just like your HDTV. (There's also a slightly higher-resolution option called 2K that reaches 2,048 lines by 1,080.) Film doesn't have pixels, but the industry-standard 35-millimeter stock has a visual resolution roughly equivalent to 4K. And that's what makes the Red so exciting: It delivers all the dazzle of analog, but it's easier to use and cheaper—by orders of magnitude—than a film camera. In other words, Jannard's creation threatens to make 35-mm movie film obsolete. Two years ago, Jannard brought a spec sheet and a mock-up of a camera—not much more than an aluminum box about the size of a loaf of bread—to NAB 2006. Even though it wasn't a working product, more than 500 people plunked down a $1,000 deposit to get their names on a waiting list. For months, industry watchers wondered if the company was for real. Today, there's no question. The Red One is being used on at least 40 features. Steven Soderbergh, the Oscar-winning director, borrowed two prototypes to shoot his Che Guevara biopics, which premiered at the Cannes Film Festival in May, and later purchased three for his film The Informant. Peter Jackson, the Lord of the Rings himself, bought four. Director Doug Liman used a Red on Jumper. Peter Hyams used one on his upcoming Beyond a Reasonable Doubt. Digital cinema that's all but indistinguishable from film is finally coming to a theater near you. The Red headquarters is in Lake Forest, California, a sprawling Orange County exurb consisting mainly of strip malls and office parks. The 32,000-square-foot facility, which Jannard recently bought for a reported $7.7 million, has a stark white exterior unbroken by windows except at the entrance, where a winged human skull is painted on the glass. Jannard, wearing blue jeans, black slip-on sandals, and a lime-green short-sleeve shirt, greets me in the lobby and ushers me through a set of gray metal doors. On the way into the workspace, there is a sign: 1) Please knock. 2) Take two steps back. 3) Kneel. Since I'm getting a tour from the wizard himself, I'm apparently excused from genuflecting. Behind the doors, the walls are festooned with camouflage netting—a nod, perhaps, to the postapocalyptic design of the steel-clad Oakley headquarters half a mile away. "I had been thinking about this project for a long time," Jannard says. "As a camera fanatic and a product builder, this was something I seemed destined to do." When businesspeople talk destiny, it can sound like bullshit. But at Oakley, Jannard not only ran the company, he personally shot one of its two TV spots and all of its print ads from 1975 to 1995. He owns more than 1,000 cameras, both still and motion picture, several dating back almost a century. "I have a Bolex, Aaton, Arriflex, Eyemo, Filmo, Mitchell, Photosonic, Beaulieu, Keystone—just about every movie camera you can think of." The Red One camera gives moviemakers the best of both worlds. It delivers the ease of use and editing flexibility provided by digital cinema cameras. At the same time, the Red's resolution and color fidelity rival that of 35-millimeter film, and it allows the same kind of control over focus. Bonus: Like HD and 2K digital, it's cheap. In 2004, Jannard bought a Sony HDR-FX1—the first hi-def videocam for consumers. When he found he couldn't use the files it produced without translation software from a company called Lumiere, he telephoned Lumiere's owner, filmmaker Frederic Haubrich. "I told Frederic that I couldn't even view my footage on a Mac and that this had pissed me off enough that I wanted to build my own camera. And he said, 'Jim, I know guys in the industry who can help.'" Haubrich introduced Jannard to interface designer Ted Schilowitz. Schilowitz, Haubrich, and Jannard spent a year trying to design that dream camera, one that would combine the practical advantages of digital moviemaking with the image quality of analog film. They recruited mathematicians, programmers, digital imaging experts, hardware engineers, and physicists. "We needed a bunch of guys who were inventors to come up with entirely new ways of getting to the finish line," Jannard says. He kept the project quiet until his team could determine whether building the device was even feasible, but rumors swirled through Hollywood about some kind of mysterious supercamera in the works. "I didn't know who Jim was," Soderbergh says. "But I heard about Red because they were canvassing filmmakers and cinematographers, asking, 'If you could wave a magic wand, what camera would you design?'" Most of the work took place in what employees call Jim's garage, a 20,000-square-foot warehouse across the street from Red's massive headquarters. The team quickly concluded that existing technology was inadequate. The guts of the camera—the image sensor and all the accompanying circuitry—would have to be created from scratch. It was a daunting challenge, but the fact that Jannard's management style falls somewhere between Mr. T and Steve Jobs on the autocracy scale helped. "What separates us from other camera companies is that the vision guy is the decisionmaker," he says. "That was one of my biggest advantages at Oakley, and it's the same at Red—I'm in the trenches, in the product development, and I make the final call. Red is a benevolent dictatorship." The video revolution has been on pause in Hollywood. Just as digital still cameras now rule the photography market, hi-def digital movie cameras were supposed to replace film. But moviemakers never fully bought in. Typical digital videocams use prisms to split incoming light by color and send it to three separate sensors, which tends to soften images. Onboard software sharpens the footage but also introduces halos and exaggerated edges. Worse, the small sensors put too much of the picture in focus, giving it a canned look. Cinematographers hate that; the ability to guide the viewer's eye by selectively blurring focal planes is one of their favorite techniques. "That's a storytelling tool," says Pierre de Lespinois, a producer and director who spent three weeks in April filming a feature in the Mojave Desert with two Red Ones. "In HD, what's right in front of the lens and what's 20 feet away are both sharp, so the image looks flat." To compete with celluloid, a digital cine-camera would need an image sensor identical in size and shape to a single frame of 35-mm motion picture film. Without that, the Red couldn't give filmmakers the control over depth of field, color saturation, tonality, and a half dozen other factors that 35-mm film provides. You'll find that kind of full-frame sensor at the core of any high-end digital single-lens reflex camera. But they're designed to shoot no more than 10 frames per second. That's warp speed for still photographers but barely first gear for filmmakers. Movies are shot at a minimum of 24 frames per second, with some scenes topping out at 120 fps for slow-motion effects. The Red's sensor would have to do everything a DSLR sensor does—and do it significantly faster. The camera also had to be able to record in the same bulky file format that DSLRs use—called raw. The format preserves picture data in essentially unprocessed form, which gives photographers more latitude to tweak images with software the way they once did in a darkroom. (Cinematographers do the same thing with 35-mm film, but it's a complicated, expensive process: The film must be scanned into digital to be manipulated, then converted back to analog for projection.) Since a movie is just a long sequence of still pictures, using the raw format presented bandwidth and data-storage problems. A two-hour feature could run up to 7 terabytes. The Red engineers built a workaround, a lossless compression codec they call Redcode Raw. Finally, in August 2006, Jannard's team flipped the switch on Red's first prototype, codenamed Frankie. It wasn't really a camera at all, just a mechanical test bed containing the new sensor. "Our whole business was predicated on this sensor," Jannard says. "If it didn't work, we'd be cooked. When it did, it was like giving birth and counting all the fingers and toes to make sure everything was there. It was phenomenal. Everybody went nuts." Schilowitz remembers that moment, which camera makers call first light, as mind-blowing: "Everyone started screaming like little kids, 'First light! First light! It's alive!' The thing actually worked." Two weeks later, at an industry event in Amsterdam, Jannard showed test footage taken with Frankie—a clip of two perky women in '50s garb chugging milk from glass bottles—on a 60-foot screen. "People were stunned," Schilowitz says. "They were standing around scratching their heads. That moment made a lot of people into believers." Filmmakers didn't care how the Red One worked, but they liked what they saw. "The Red camera is the closest thing to film I've seen," says Tristan Whitman, a cinematography lecturer at USC. The Analog Advantage Typical 2K and HD digital movie cameras keep everything in focus. The 4K Red One is more like an analog camera, allowing depth of field control, which blurs the foreground or background. Analog film lets moviemakers control the depth of field.Tony Yayo | A DAY IN THE LIFE (PART I) from HipHopStan.com on Vimeo.
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