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.”

Everyone has an idea for their great passion project, but it takes a certain level of commitment to turn that idea into reality. For director and DP Alexander Hankoff, his short film Yellow was something he knew he wanted to make and it was his (along with his team's) creativity that made it possible.

Red Bull Media House is no stranger to epic footage. In one of their recent videos, Chain Reaction (which you can watch above), Director Nicholas Schrunk and his team had to find a way to capture multiple, specifically-timed stunts on a tight shooting schedule and in a remote location.

Recently, we have seen a lot of great work using the RED and the Gates housing, particularly with the Canon EF mount installed on the EPIC and EPIC DRAGON. This is a powerful combination that takes advantage of the easy-to-use design of the Gates housing and the flexibility of REDRAW files.

Whether you're a camera assistant or a rental house equipment manager, you're often expected to know the menu system of various cameras. Even if you had access to every camera on the market, it can be very time consuming to set up a camera just to remind yourself where a specific setting is.