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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Casey Green - Los Angeles


Looking for a Stage or Broadcast Studio for your production?

The location of our RedCam Central shop is also home to our sister company, WebCam Riot Studios (located in Burbank) and specializes in providing an affordable Stage (26'W 22'L 13'H), Green Screen, Control Room, Camera packages (RED, Black Magic), DMX Lighting Grid, TelePrompter, Multi-Skype Interaction, and Post as well as Crew for your productions.

We also develop original content for Film, TV, and Web. Past projects include game shows, commercials, interviews, live interactive voting events, music videos, short films, improv shows, and webcasts. Please check out our new website and listing on Production Hub for studio specs, equipment, and more photos!

Have a shoot or longer term project in mind? Give us a shout!




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Just picked up our first interchangeable Low Light OLPF. Looking forward to trying on an upcoming gig!

Also available in our rental packages or stand-alone...

Low Light OLPF DRAGON RedCam Central.png
One of our Dragons was hired on this spot for Bentley a while back. Just found it posted online. Fun with Anamorphics...Jarred, thought you'd appreciate. :) #r3d #reddragon

RED KOMODO (Stormtrooper model) 6K Camera footage

RED KOMODO (Stormtrooper model) 6K Camera footage

Entering the age of Komodo...

Took my RED Komodo ST 6K camera out for a test shoot inviting cinematographer Robert Dyck along back in October. We were interested in finding out how the sensor handled available light / low light environments and tested other capabilities along the way, such as how the global shutter performed (see flash bulbs, moving by vertical fencing shots). This was by no means a scientific test. More of a test drive and then trying to create something fun from what we captured. Please forgive the data loss from h264. (The original footage looks gorgeous in the darks, which doesn't hold up as well during the transcode here)...and feel free to critique, poke fun, etc., as I took some creative liberties along the way. Oh, and it was mostly shot handheld with no stabilization (some added in post). It was nice to have a little project to chip away at during these difficult times.

Really enjoying this powerful imaging device! Love to hear your thoughts! #R3D #REDKomodo

RED KOMODO (Stormtrooper model) 6K Camera footage.
Camera Serial #: 000353
Lens: Sigma 18-35mm F1.8 Art DC HSM (RF to EF Adapter)
Locations: LACMA (Los Angeles County Museum of Art), Petersen Automotive Museum, Academy Museum of Motion Pictures, and surrounding areas.
Date: October, 2020
Camera Operators: Casey Green & Robert Dyck
Editor: Casey Green
Music: Select tracks from the Blade Runner (1982) original motion picture soundtrack by Vangelis

LUT: RED_IPP2_Creative (RED_BIPOLAR.cube)

QUOTE: "I'll do my best, but they're pretty set in their ways with *cough* 16mm."

Ayayayayay? Now there. Are you disparaging 16mm film, you know, real film, not that fancy electronicallated pretend film those young guns are playing with. - If my late auntie was still with us today she would be chasing you with a bar of laundry soap to wash your mouth out for daring to utter that blasphemy. "Cough 16mm" indeed. - For shayyyme. --- Don't look back at me like that. ---- Now maccase and get inside theh cupboard and close the door. Stay there until I tell you when to come out.

All in good fun I hope. That new system is looking like a fine solution to a long vexing problem. Some innovators about 10 years ago over here in the West put in a good effort engineering a pixel level variable ND filter pane which was intended to extend the dynamic range of the then existing cameras. It worked. They came close to maturing it but sensor technology reached out and jumped ahead and it has faded into memory back.

The idea is sound but whether it could successfully translate to today's larger sensors with high numbers of pixels might be another matter.
Thanks to the reply to a very old post!

When referring to 16mm, the comment was made in jest because the episodic I was currently working on at Warner Bros. was one of the last shows not shooting 35mm (even though the pilot was 35mm). The producers were penny pinching as it was an ambitious action/spy/comedy, and they got a bargain on the camera package from Keslow Camera, as the cameras would mostly be sitting on a shelf due to the popularity of 35mm. We did, however, shoot 35mm occasionally for VFX plates (MOS) with a loud Mitchell. ;-)