Mark L. Pederson
REDuser Sponsor
I was fortunate enough to be asked to spend the day at RED today testing the new RED PRO PRIMES and getting a little sneak peek at the new pro accessory line and the DSMC system. Some days it really pays off to be the very first RED customer. My head is still spinning.
To be honest, I expected the Red Pro Primes to be ... GOOD. I did not expect them to be STUNNING.
I'm a big Cooke S4 fan. We have shot a ton with them on our RED cameras and I've looked an countless hours of Redcode shot with S4s by a number of cinematographers on our Scratch systems.
Just two days ago we shot an extensive lens test for an upcoming feature - comparing S4s, Master Primes, Ultra Primes and Super Speeds. Ultra Primes have a T1.9 and the S4s have a T2.0 - but in our low light shots - everyone noticed that the S4s were a bit BRIGHTER. This is because the subject was in the center of the lens - so for the record, the center of a T2.0 S4 gives your more light transmission than the center of an Arri Ultra Prime T1.9. Having just looked at all this footage - I was curious to see the Cooke S4 on a projector vs. the new Red Pro Primes.
I put a 50mm Cooke S4 up on the projector first - paying close attention to sharpeness and transmission moving away from the center of the lens. It is very easy to see the loss of light transmission and sharpness as you move away from the center of the lens.
Then I put the 50mm RED PRO PRIME on the projector - turned to Jarred, speechless ... and gave him the "holy shit" look.
I put all the RED PRO PRIMES on the projector, and I will personally attest that they are SHARPER with DROP DEAD EVEN LIGHT TRANSMISSION across the entire lens - these are S4 killers. Period.
I shot a bit, just to get a feel for the lenses - but putting the lenses on the projector told me what I needed to know. I'm actually pretty stunned that I am going to own these lenses for a small fraction of what industry leading primes lenses sell for.
I also got an up close look at the new Pro accessories RED has in the works - stuff coming out BEFORE DSMC camera - stuff that will work on RED ONE and DSMC systems - and all I can say is ... RED has listened and you should try to HOLD OFF on accessories as best you can -
I also saw Jared shoot a Iguana with the 2/3" Mysterium-X ... and the resulting footage - which again, basically left me speechless again. Mysterium-X is REAL. It's shooting TODAY.
For al of you that think this camera is going to take forever ... forever looks like tomorrow to me.
I had my hands on a DSMC, put a module on, took a module off - and it's brilliant. So much BETTER than I imagined.
I saw some other things ... and I assure you ... this year is going to be very interesting, very RED and very EXCITING.
To be honest, I expected the Red Pro Primes to be ... GOOD. I did not expect them to be STUNNING.
I'm a big Cooke S4 fan. We have shot a ton with them on our RED cameras and I've looked an countless hours of Redcode shot with S4s by a number of cinematographers on our Scratch systems.
Just two days ago we shot an extensive lens test for an upcoming feature - comparing S4s, Master Primes, Ultra Primes and Super Speeds. Ultra Primes have a T1.9 and the S4s have a T2.0 - but in our low light shots - everyone noticed that the S4s were a bit BRIGHTER. This is because the subject was in the center of the lens - so for the record, the center of a T2.0 S4 gives your more light transmission than the center of an Arri Ultra Prime T1.9. Having just looked at all this footage - I was curious to see the Cooke S4 on a projector vs. the new Red Pro Primes.
I put a 50mm Cooke S4 up on the projector first - paying close attention to sharpeness and transmission moving away from the center of the lens. It is very easy to see the loss of light transmission and sharpness as you move away from the center of the lens.
Then I put the 50mm RED PRO PRIME on the projector - turned to Jarred, speechless ... and gave him the "holy shit" look.
I put all the RED PRO PRIMES on the projector, and I will personally attest that they are SHARPER with DROP DEAD EVEN LIGHT TRANSMISSION across the entire lens - these are S4 killers. Period.
I shot a bit, just to get a feel for the lenses - but putting the lenses on the projector told me what I needed to know. I'm actually pretty stunned that I am going to own these lenses for a small fraction of what industry leading primes lenses sell for.
I also got an up close look at the new Pro accessories RED has in the works - stuff coming out BEFORE DSMC camera - stuff that will work on RED ONE and DSMC systems - and all I can say is ... RED has listened and you should try to HOLD OFF on accessories as best you can -
I also saw Jared shoot a Iguana with the 2/3" Mysterium-X ... and the resulting footage - which again, basically left me speechless again. Mysterium-X is REAL. It's shooting TODAY.
For al of you that think this camera is going to take forever ... forever looks like tomorrow to me.
I had my hands on a DSMC, put a module on, took a module off - and it's brilliant. So much BETTER than I imagined.
I saw some other things ... and I assure you ... this year is going to be very interesting, very RED and very EXCITING.
