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 has just announced their newest digital cinema camera body, the SCARLET-W, which represents the next step up in the RED family. The SCARLET-W also features RECODE RAW and ProRes file formats but is a bit more feature rich than the RAVEN with interchangeable lens mounts and greater resolution. At at a lower price point than the WEAPON, it ideal for those who only need 5K resolution.