RED Digital Cinema@reddigitalcinema

RED cameras combine cinema-grade image quality & incredible dynamic range to deliver the best images possible to every cinematographer #ShotonRED #R3D

www.red.com/

580 posts 326,695 followers 387 following

RED Digital Cinema

Honored that many Golden Globe nominations are #ShotonRED, including Amazon’s "A Very English Scandal" for Best Limited Series/TV Movie, Netflix’s “Bodyguard" for Best TV Drama and “The Kominsky Method" for Best TV Comedy.
Photo credits: (English Scandal: Robert Ludovic © BBC) (Bodyguard: Sophie Mutevelian/World Productions/Netflix) (Kominsky Method: Mike Yarish/Netflix)


6

RED Digital Cinema

@ChristmasChronicles, a holiday adventure to save Christmas, is now streaming on #Netflix. Cinematography by Don Burgess on #WEAPON6K. #ShotonRED


30

RED Digital Cinema

RED continues to democratize the digital imaging industry and help users find the perfect camera for their needs. Further simplifying the DSMC2 line-up that includes MONSTRO 8K VV, HELIUM 8K S35, and GEMINI 5K S35 with the latest DSMC2 DRAGON-X camera, customers now have 4 options for their shooting aspirations.
_
Regardless of which sensor you choose, the BRAIN’s technical specs including data rates and frames per second at each resolution will remain exactly the same. The DSMC2 BRAIN is capable of 60 frames per second at 8K Full Frame, offers up to 300 MB/s data transfer speeds and simultaneous recording of REDCODE RAW and Apple ProRes or Avid DNxHD/HR recording.


81

RED Digital Cinema

The award-winning ocean documentary Blue Planet II is now streaming on @Netflix. Over 4 years in production, #BluePlanet2 crews made 125 expeditions, visited 39 countries and spent over 6,000 hours diving underwater. #ShotonRED (Photo: Lisa Labinjoh/BBC)


6

RED Digital Cinema

This has been a quick snapshot of my projects for the last 11 years. There are more in the works and more to come...
_
[Post 9/9 from @ottoa]
_
Link in bio to visit Otto Arsenault’s website.


1

RED Digital Cinema

Lately, stories have been getting shorter and shorter. Today, the life of a project is sometimes only a day long though we hope the story will last for a week, but with attention span of audiences shrinking, clients are looking for ways to maximize production days. With the MONSTRO, you can deliver on that. The stills you’re able to pull from motion look incredible. The workflow is easy to markup and export from the R3D. The color and resolution are superior. I am now able to leverage and deliver stills for print and social media right out of the RED camera. This brings flexibility and continuity to the end result.
_
[Post 8/9 from @ottoa]


5

RED Digital Cinema

Often times questions from clients before shooting a commercial revolve around delivery.  How are we delivering, what formats, what cutdowns, what crops, etc…? With RED you don’t really think about that. We always shoot the max K, when it was 4k, we shot 4K, now we shoot 8K, but you know that no matter the crop or delivery the image is pristine and flexible. I love shooting RED because you can set your guides in camera and know you have a safety while shooting. 
_
When I say flexible I mean in image and while physically shooting. When things get spontaneous on a shoot I have the confidence that I can take the camera, a lens, and the LCD and run with it. That’s what we had to do on part of @calvinklein’s ETERNITY. We were losing light and got access to a secluded beach and had to take advantage of it.  We didn’t have the time to make a big company move, so we grabbed what we could, scaled the rocks and hope that the tide wouldn’t lock us in. A lot of what I shot on that section of beach ended up making it into the final spot. It had a certain energy to it.
_
I love taking the RED camera to the beach, nothing like it, sand, water, sea spray and every time it works.
_
It was also the first choice when we took the elements indoors for @CanadaGoose "Chance Nothing" campaign in studio. Shot on HELIUM in NYC, Canada Goose needed to get a feel for the spring elements without going on location with the models. 
_
[Post 7/9 from @ottoa]


4

RED Digital Cinema

When the @Diors' "Secret Garden" fashion film was released it was not the norm for a collection to warrant its own film. Clothing is seasonal, why spend the time and money on a film? Well, the success of that project proved to make people think twice. It jumped to 20 million views in its first weekend. Helmed by @inezandvinoodh with music by @depechemode, Creative Direction by the @thestylecouncilparis, they took us through the Palace Versailles draped in Dior, not once, not twice, but three times. Shot on DRAGON, the cameras allowed us to splinter off into small units, at times only two people, to capture the Palace’s beauty. The film ended up running in cinemas across Europe and we were able to easily provide the DCP because we finished in 4K.
_
Shortly after, we flew a balloon over Paris for @louisvuitton and turned inward for a hauntingly beautiful series of films for @MiuMiu. RED continued to deliver a superior image complementing the campaigns. 
_
[Post 6/9 from @ottoa]


17

RED Digital Cinema

3 music videos, 3 looks, same RED codec, all shot in studio. The next 3 videos were projects shot on DRAGON. Since each of them told their own story, they each had to achieve a different look.
_
"Four, Five, Seconds" took a classic portrait approach, "Lion Song" dove into the mind of @Bjork with help from @Framestore and @LadyGaga’s “Applause" transcended film periods actualized by @Millchannel.
_
Resolution and image quality is something that we covet. Shooting on DRAGON allowed us the resolution and freedom to work with the VFX companies maintaining the highest spec for delivery. “Lionsong" premiered as a part of Bjork’s MOMA retrospective and looked incredible projected with alongside her other historic videos.
_
[Post 5/9 from @ottoa]


10

RED Digital Cinema

It’s kind of wild to me to think that other people think that an editor needs to have worked with a format in order to cut with it. I understand that there are learning curves for certain formats, but for me, RED has always just worked. But, because of that belief, I was able to meet some incredible people.
_
Editing is what introduced me to @inezandvinoodh. They had just taken one of the first EPIC cameras to the streets of Paris with VOGUE and they looking for an editor to help them cut the project. Somehow, someone knew someone that knew someone else and before long we were sitting down editing what would be the first of hundreds of projects the three of us would make together.
_
“Girls on Film” set a bar for us and RED was part of it.
_
Then Lady Gaga's “You and I” project was unique because I&V were asked to create films in tandem with the music video Gaga was shooting on location in a barn in Nebraska. The deadline was tight and the shoot was 2 days long and I mean 2 x 24 hour days long. We set up an edit system and ripped through the edits while they were still shooting. This couldn’t have happened if we were shooting film. It allowed everyone to view in confidence what they were capturing. The results are 5 beautiful portraits of cast and crew from the shoot. Besides some files darting through the occasional frame, you would have never known this was captured in a barn 50 feet from the set.
_
Now we were all hooked. The EPIC camera delivered a dynamic beautiful image that complemented the Photographs that I&V were creating. They were asked to shoot an entire issue for @VogueParis and wanted to create films to accompany the issue. We spent 10 days in Las Vegas putting the camera through the ringer. The films showcased all different types of lighting setups and environments. We were in love with the results. Each film has such a unique look it was awesome to achieve such a variety on the same format.
_
[Post 4/9 from @ottoa]


7

RED Digital Cinema

After “Lessons” being a successful one-take music video, I was looking for another one take challenge. How could we make this harder on ourselves? I wanted to maneuver through space interior & exterior, have the lighting evolve, keep the frame exciting and run it backwards without cutting. Greg Laswell was incredible- he taught himself how to sing his own song backwards and worked with me on blocking his performance throughout the sets. It was a bit of a mind trip to keep thinking what’s in the beginning was going to be in the end.
_
We did rehearsals for hours getting the camera and lighting locked and after lunch we said lets do it! The final result is the only take we shot, once the first bit of confetti was thrown there was no turning back. @greglaswell really carried this video along with the incredible cast who doubled as crew in pulling this off. My now wife Sophia, was the production designer who helped create the visual chaos throughout.
_
[Post 3/9 from @ottoa]


8

RED Digital Cinema

When the RED ONE first came out, it was a level set for smaller budget productions. Those of us making music videos flocked to the camera. We were able to have nimble productions without sacrificing the quality of the final image. We could literally jump out of a van and start shooting. That’s exactly what we did on “Lessons Learned” a video I co-directed with Taylor Cohen for @mattandkim in 2008.
_
We rehearsed for hours in a Brooklyn loft on what clothing would come off at what point in the song. The next day we all jumped out of the van after the matinees let out in Times Square and the rest is history. The RED ONE was a champ with the bitter cold that afternoon in NYC. The "Lessons Learned" video ended up winning Break Through Video award at the @VMAs that year.
_
[Post 2/9 from @ottoa]


13