Red Digital Cinema recently celebrated the 10-year anniversary of delivering the first RED ONE camera bodies into the eager hands of early adopters. As exciting as those early years were for the RED community, a number of judgements about the reality of working with files from these cameras have managed to stick with the company’s products even though times, hardware, and industry support for the RED ecosystem have changed a lot since those heady days – and for the better. Let’s take a look at some common misconceptions about working with RED cameras and footage that have persisted and do some “myth-busting.”

Our popular comparison chart of Phantom high-speed cameras by Vision Research now includes the VEO4K-PL model. Like the 2.5K VEO 640S, the VEO4K-PL features onboard media storage using adffordable CFast 2.0 media. In addition to its 4K sensor, the VEO4K-PL also has a switchable global shutter mode with a higher base ISO compared to using the camera's rolling shutter mode. And, at less than half the size and weight of the illustrious Flex4K, we think this camera opens up new possibilities for high-speed cinematography.

On Saturday, October 7, we held our Chicago Cinema Tech Expo. We expanded the event into a new space so that we could include more gear, workshops, panels, and unique community programming. Over twenty manufacturers were in attendance, with booths filling up the large ballroom at Cinespace. Over the course of the day, our technical specialists were able to visit the booths and get a closer look at some of the most exciting gear that was on display.

This year's IBC show in Amsterdam was an exciting one, showcasing a lot of technological development across different categories of gear.

Although many of the new camera announcements from the past few years have centered around S35 or other large sensor sizes, one challenge with these systems is the available zoom ratio, especially if you're looking for a more compact configuration.

Today I had the chance to check out the new Cartoni Focus 22 fluid head system. This head will fit a wide variety of cameras accommodating payloads from 6.5 to 48.5 lbs.

Freefly’s latest handheld gimbal stabilizer, the MoVI Pro, has been rebuilt from the ground up to improve upon almost every aspect of the original family of MoVIs. There is very little on the system that has not been given the deluxe treatment; from the integrated tuning stand by way of the ring with attached feet, to the dual battery system allowing hot-swapability.

Many will remember the excitement surrounding Canon’s release, in March 2010, of a firmware update for the 5D Mark II which added 24p to the camera’s already ground-breaking video mode (the 5D Mark II was the first “full-frame” DSLR with 1080p video recording). This mid-lifecycle enhancement is perhaps most responsible for igniting the DSLR video revolution.

A new category of single-operator, handheld camera has recently established itself in the tier between traditional ENG/broadcast cameras (based on 2/3″ sensors) and the single-chip Super35-sensor digital cinema cameras we cover extensively in this blog. This current crop of higher-end, all-in-one cinema camcorders use one-inch sensors and have generous zoom ranges, and they’re all capable of recording UHD (the 16:9 version of 4K, 3840×2160 resolution) – most even have high-speed capabilities as well.