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Red Digital Cinema settles with Arri over email hacking, terms undisclosed
One of the strangest corporate espionage stories in recent memory has come to a conclusion with a confidential settlement between cinema cam makers Red and Arri. It started when a former Arri honcho, Michael Bravin, pleaded guilty to hacking into email accounts at his ex-employer, camera distributor Band Pro Film & Digital. Red founder Jim Jannard claimed his personal account was also compromised during the attack and that other Arri executives were aware of it. As a result, Red sued its competitor for "unfair competition based on email hacking, invasion of privacy, conversion, misappropriation of trade secrets and unlawful trade practices, among other charges." In a post on Red's user forum, Jannard said "we are very happy with the terms of the settlement with Arri and glad to have this behind us." He added that a separate suit filed by Band Pro against Arri has yet to be concluded, saying "hopefully they will settle in a way that Band Pro is as happy as we are." Whether Red will be equally gleeful at the conclusion of its recent clash with Sony remains to be seen.
Red sues Sony over patents, wants disputed F-series cameras 'destroyed' (updated)
We reported that Sony was going "Red hunting" with it's new F-series pro camcorders, but it looks like Red has flipped that scenario. It's suing Sony for allegedly violating two of its patents -- asking for an injunction to stop sales plus an award for damages, and even that that the F5, F55 and F65 models in question be "delivered up and destroyed." The Hobbit camera-maker claims the video cams have "resulted in lost sales, reduced the business and profit of Red, and greatly injured the general reputation of Red." The patents involve Red's implementation of RAW video, but no details were given as to how it thinks those processes were infringed. Anyway, you can now add high-end video cameras to the growing playbill of patent follies. Update: Red leader Jim Jannard has issued a statement on Reduser as to why the company felt it needed to sue Sony. We have taken a bit of flak for filing a lawsuit against Sony Electronics. #1. Sony stepped up and finally supported 4K from cameras to displays. That is helping to cement 4K as the real cinema standard. Good. We actually have a Sony 4K 84" display and Sony 4K projector at RSH for reference. But... #2. We are heavily invested in concepts, inventions, designs, development and manufacturing of RED cameras, REDRAY and the RED Projector. Each is unique and has motivated the industry to get better, for the benefit of all. We don't mind others joining the 4K revolution... quite the contrary, we embrace it. What we don't accept is others just borrowing our technology, intentionally or unintentionally. We admire invention and happily pay for and license great technology from other companies when it is useful to our program. #3. We have created many jobs in the US leveraging our vision and technology and we will aggressively protect our employees. Every single job matters. It is a magic trick to build a camera in the US, especially at the highest level. This cannot be done if others are allowed to just take what we have done and use our work as their own. #4. Our customers have invested in our technology. They need to be protected and their investment needs to be protected. We have an obligation to our customers so they will not have their investment diluted by a proliferation of the proprietary technology they invested in. We don't mean to be heavy handed. We saw 4K as the future standard in 2005. We have endured comments that "RED was a scam". "1080P was good enough." "What does a sunglass guy know about cameras?"... as well as others I would never publish. Patents are here for a reason. They protect IP. Receiving a patent now means that you have an obligation to protect it... or they have absolutely no value whatsoever. We are anxious to resolve this and have everyone move along. But in the end... our ideas, employees and customers matter. We will tenaciously protect all of them. [Thanks, Andrea!]
Live from the Engadget CES Stage: an interview with Red Digital Cinema's Ted Schilowitz (update: video embedded)
This time last year, the folks from Red Digital Cinema dropped a few exciting goodies off at our trailer, so we're more than happy to welcome the company's co-founder (aka "Leader of the Rebellion") Ted Schilowitz to our stage, to check out the latest in high-end cinematic hardware. January 8, 2013 4:00 PM EST Check out our full CES 2013 stage schedule here! Update: video embedded
Red offers 'truckload' of one-time rental Scarlet-Xs for almost $5K off each
If you were thinking of getting a Red Scarlet-X 4K baby cinema cam for that pet film feature, but were on the fence because, well, $11,900 is a lot of cash -- there's good news. The company just announced they would be selling "a whole truckload of Scarlets" for $7,100 each instead, as they had been used on a rental for a "pretty special 3 second shot." As such, the camera body has less than a minute of recording time, and would come with an SSD module, Canon mount and full warranty for that sum -- along with the option to change out the MX sensor to Red's upcoming Dragon model, presumably. Bear in mind that you'd still lack the SSD drive, LCD, batteries or charger needed to shoot, but even with all that would still be under the regular basic price -- meaning you might be able to stop saving up and start shooting.
RED goes beyond cameras with $15,000 REDucation X showbiz immersion
RED's dabbled in the workshop arena with its three-day REDucation classes, but the cinema company's new program ups the session time to a full 16 weeks. REDucation X, which kicks off on October 1st, will run you a cool $15,000 -- approaching the cost of an entire Scarlet-X package. While getting REDucated at RED Studios in Hollywood, you'll learn from high-end film pros alongside 20 other deep-pocketed students as you cover digital production from A to Z, including lighting, shooting and equipment brass tacks, followed by a one-week shoot, and finishing with editing, grading and big-screen delivery. So given the choice, should you buy a new Scarlet, or take the training? We'd love to own one, but it would be nice to know how to use it properly, too.
Frame rate debate rages on with 48 fps projection of 3D Hobbit footage
With his use of Red cameras, 3ality rigs, and high frame rate 3D technology, no one can accuse Peter Jackson of being stuck in the past. Need more evidence of his anti-luddism? He just gave the first projection of footage from his 3D opus "The Hobbit: An Unexpected Journey" in its full 48 fps glory at the CinemaCon convention in Las Vegas. With the public having endured 80 years of 24 fps film-watching, Jackson appealed to viewers to allow their eyes to adjust to the doubled rate during the ten minute screening. But the reaction showed that public acceptance might take a while. One projectionist compared it to made-for-TV fare, and others referenced Mexican soap-operas and TruMotion. The reply to these criticisms by Jackson (and James Cameron) has always been that 3D is better suited to faster frame rates than 2D -- making it more immersive, reducing headaches and improving stereoscopy. We'll have to wait for the film's release this December to find out whether he's right, or if this attempt at high frame speeds will go the way of Showscan.
Red's Scarlet-X 4K camera gets video review: you've never needed $11,700 so badly
Native 4K recording? Check. A built-for-war body? You bet. Backordered despite a downright shocking $11,700 price tag? Most certainly. As with Red's prior products, the Scarlet-X seems to be wowing just about every shooter lucky enough to come into contact with one. Luck for you, the folks over at Cinema5D have spent an inordinate of amount of time with this beast in order to deliver the full skinny on whether it's worth the price (and wait). We won't bother spoiling any conclusions for you, but if you've been toying with the idea of blowing your (and your SO's) bonus on one of these in a bid to start your own movie house, there's a vid just after the break that deserves your attention.
Red Digital Cinema sues competitor Arri over e-mail hacking, adds new charges to the list
The behind-the-lens drama between camera makers Red Digital Cinema and Arri has taken yet another step recently, as Red filed suit December 21st against Arri alleging corporate espionage. Former Arri executive Michael Bravin has already plead guilty to criminal charges that he illegally accessed emails at his previous employer, camera distributor Band Pro Film & Digital. At the time Red founder Jim Jannard also revealed his personal account had been compromised, and now The Wrap reports the company is accusing Arri of "unfair competition based on email hacking, invasion of privacy, conversion, misappropriation of trade secrets and unlawful trade practices, among other charges". The extra charges come as a result of information it has indicating other Arri executives were aware of the hacking. Other than listening in on conversations between Red and Band Pro, Arri also stands accused of launching a false advertising campaign ahead of the launch of the Alexa, while Bravin posted with a pseudonym on RedUser.net. Hit the source link for additional details on the sordid affair, we'll find out what can be proven if / when Red gets the jury trial it's seeking.
RED EPIC-M stars in gorgeous vid, RED ONE jealously shoots the footage (video)
By now you're probably familiar with the $58,000 RED EPIC-M and what it can do, but it's hard to properly admire its hand-machined beauty from a distance. We can't ship you a unit, of course, but we've got the next best thing: close-up footage of the compact 5K beast shot with another RED camera -- the original 4K RED ONE M-X. Lousiana post-production company Digital FX lovingly fondled EPIC-M #98 on camera, not to mention goodies like the Bomb EVF and 5-inch touchscreen LCD, and you can watch, drool and share your oh-so-envious thoughts with us right after the break.
RED's Digital Still and Motion Camera System now official
After a morning of drip-fed images, RED just went official with its DSMC (Digital Stills and Motion Camera) System. The system starts with your choice of the professional Scarlet or "master professional" EPIC brains which can then be bunged into about 2,251,799,813,685,248 possible camera configurations, RED only half-jokingly chides. The brains are built upon Mysterium-X and Mysterium Monstro sensors which start at 2/3-inch and end at a whopping 6x17-cm -- when a new sensor comes out you just upgrade the brain. Scarlet will launch in 4 choices ranging from $2,500 (and possibly less) to $12,000 with a variety of lens mounts (yes, Canon and Nikon) capable of shooting 3K @120fps on up to 6K @30fps. Epic will offer similar mounts with capabilities spanning 5K @100fps ($28k) to 9K @50fps ($45k) -- a 28K system hitting 25fps is expected in 2010 for $55k. Still image resolutions will range from 4.9 megapixels to a freakish 261 megapixels. The first Scarlet systems could come as early as Spring of 2009 while EPIC should arrive by summer. Of course, the brain is just the beginning of the costs. RED also introduced a 3D camera configuration today in true, "one more thing" fashion. See all the details in the gallery below, 3D camera after the break.%Gallery-36771%
Official RED Scarlet and EPIC pics are sure to induce drool [Updated with OMG]
var digg_url = 'http://digg.com/gadgets/RED_s_amazing_DSLR_shoots_5K_video_amazing'; While the announcement isn't scheduled for another 7 hours and change, RED's Jim Jannard is whipping his fanbase into a frenzy with a steady stream of fragmented pictures. The one above looking every bit the 5D Mark II-killer we've been expecting. Jim's even dropping facts about Scarlet and EPIC being "completely modular and upgradeable in every way." What's more, he's offering hope to RED ONE owners who might feel cheated by today's introduction of Scarlet and EPIC. After all, he did promise to make "Obsolescence Obsolete" with his modular approach to camera building. So in addition to a TBD upgrade price for RED ONE owners to make the jump to a Mysterium-X sensor, owners will also have the option of trading in their cams for a $17,500 value towards the purchase of "any EPIC" (there's more than one?) or keep the RED ONE and receive a 12% credit on a Scarlet system. Nice... expensive, but nice. Check the gallery for all the images including one that looks like a telephoto lens for a RED DSLR.P.S. Jim confirmed that, "Scarlet and RED EPIC are part of the same DSMC system." While you may not know what DSMC stands for, we're pretty sure that Canon and Nikon are well aware that DSMC means Digital Still & Motion Camera.Update: Three-pound Scarlet and four-pound EPIC Mysterium-based "brains" capable of shooting 3K and 5K video, respectively, pictured after the break -- choose the brain then build a system around it. What look to be final (and complete!) product shots added to the gallery.%Gallery-36762%
RED teases some more in preparation for November 13th
This is just mean. With 10 days to go before Red goes official with its Scarlet and Epic announcement, we get this image: a teaser for those of us already teased. Sure, it doesn't look like much now (don't bother looking at the EXIF: nothing), but it's enough to prompt RED Digital Cinema's CEO, Jim Jannard to write that "the most aggressive speculation will not come close to what we will announce Nov. 13th." Careful Jim, our expectations are already pretty high.
Red announcing DSMC DSLR replacement on November 13?
Ready for the tease? RED just announced an announcement. According to RED Prez, Jim Jannard, "no one has any idea how incredible this announcement will be." A stream of words, specs, and renderings, we presume, all cobbled together on November 13th with a promise to put the "RED ONE announcement to shame by comparison... the biggest, most exciting and incredible thing." So mark your calendar for November 13th -- that's the day RED DIGITAL comes clean with its Scarlet and Epic programs. We're sure Nikon and Canon will be watching to see if RED launches its DSMC (Digital Still & Motion Camera) aimed squarely at the DSLR market, or not. Even if we have to er, settle, for a 3K Scarlet or 5K Epic video cameras, those aren't bad consolation prizes, eh?[Thanks, Brad]
More details on RED's DSMC (Digital Still & Motion Camera)
You heard that Nikon busted out a DSLR with a 720p movie mode, right? Even that is going to pale in comparison to RED's alternative, or at least that's what RED would have you to believe. In a recent post over at the REDuser forums, Jannard points out that its DSLR "replacement" should be ready to rock by late 2009, and while an official name has yet to arrive, it's going by DSMC (Digital Still & Motion Camera) for the time being. Also of note, Jannard casually mentioned that this piece would be more advanced than Nikon's D90 and an undisclosed 1080p DSLR from Canon; that's the first we've heard of such a beast, but given the natural progression of technology, we suppose it fits. C'mon guys, 3K 4K 5K shooting in a DSLR, we know you can do it.
RED's next move: Monstro super DSLRs
Red CEO, Jim Jannard, is stirring up trouble in the RED User forums, J. Wong-style. His latest volley discusses the new Mysterium "Monstro" sensor program, the next evolution (and future free upgrade) to the Mysterium X sensor slated for RED's 5k Epic. The most interesting revelation though is this little nugget: in addition to Epic, RED plans to place Monstro into, "another camera aimed squarely at the DSLR market." He later adds, "Future cameras will shoot ultra-high resolution stills and motion..." Now, considering that the second generation, full-frame, ~25 megapixel Mysterium X is already a serious challenge to 35mm film, we can only imagine what this DSLR with a third generation RED sensor might offer. Hear that Nikon? Your D90 is just the beginning of this story. Let's just hope that televisions and monitors, already struggling to reach 4k, Quad HD can keep pace.[Thanks, Jundai]
Red to unveil the Scarlet "pocket professional" camera at NAB
Details are totally sketchy, but it looks like there's about to be another Red HD camera to lust after: a posting from CEO Jim Jannard on the Red user forums confirms that Red will be launching a "pocket professional" camera named "Scarlet" sometime this year, with prototypes to be shown off at NAB in April. Jannard says the camera won't be a competitor or replacement for the Red One, but that's all we've got for now -- but you know we'll be all over this thing as info comes in.[Thanks, MonsterDog]
RED ONE HD camcorder finally gets a street date
So we know a lot of you have been on the edge of your seat concerning the RED ONE modular, high-end, HD HD-clobbering camcorder system. The camera -- announced at NAB way back in the wild, sun-soaked days of 2006 -- rocks 11.4-megapixel, 60fps video, and is designed as a multi-part system, featuring a base unit that can be modded with a variety of add-ons -- allowing for all kinds of crazy configurations (just what the low-budget auteur is after). Now, according to the Reduser forums (and more specifically, Jim Jannard, Oakley founder and Red Digital Cinema company head), the RED ONE shipments will begin on August 31st, with a second batch to follow on September 7th. Sure, the $17,500 base system price-tag may seem prohibitive to some, but as we all know, fear is the mind-killer, and if you're really serious about that film you're making, you're going to need something like this. Time to break open the piggy-bank.[Thanks, Blayne G]
RED Digital Cinema planning pocket cam, 4K projector and displays
NAB is one of the few times during the year that A/V geeks can pull themselves away from their editing bays, adjust their eyes to the light, and really get down with the latest equipment -- so it should be no surprise that RED Digital Cinema is using the event to leak its plans for some tantalizing new gear. We're all quite familiar with the $17,500 RED-ONE 4K base system and its ecosystem of accessories, and now it looks like the company is prepping products for post-production as well, with self-proclaimed "RED Savant" Steve Gibby reporting that a 4K projector and entire lineup of 4K displays are on the way. Even more exciting -- at least for the average consumer or prosumer -- is a promised "professional pocket camera" being described as a "mini-RED," and though we doubt you'll see these for sale at Best Buy, we're still pretty stoked to see what kind of offer they're going to make us here. And if they do already have a prototype of this one, you can bet it's under extra tight lock and key.
The RED ONE 60p cam gets a price list
With a release set for "early 2007," Red Digital Cinema just took the important step of outing the price list for the range of RED gear which could hit as early as May 31st. Intent on keeping both wedding videographers and indie film makers happy, it all starts with the $17,500 RED ONE base system (center). From there you can add your choice of the $1,250 Basic or $2,750 Premium production packs (top right and left, respectively). But don't stop now, go ahead and throw down for a $1,650 RED ONE Power Pack featuring 2x RED BRICK 140Wh batteries and charger, a $1,950 RED Electronic Viewfinder, and the $1,700 5.6-inch LCD. Optics accessories include a $3,500 B4 lens adapter and both Canon and Nikkor 35mm photo mounts costing $500 each. There are also several RED branded media accessories for CF, SATA disk, and something called the "RED RAM 64GB" for $4,500 -- extortionate if that's just a RED-branded SSD in an external housing. But hey, no one said that a 4k resolution and 60p frame rate would come cheap. [Thanks, Blayne G.]
RED recovers stolen gear, but valuable IP still missing
Good news for fans of ultra high definition imaging: RED Digital Cinema (and Oakley) founder Jim Jannard is reporting that almost all of the equipment stolen a few weeks back -- including the aluminum prototype, a lens, and several computers -- has been successfully recovered by a team of private investigators. As you probably know by now, RED was founded with the intention of bringing professional-quality camcorders into the hands of the common man (well, the common man who has $17,000 to spare), and its first 4K footage became available for public consumption shortly before the break-in. Jannard writes that the stolen gear was broken up into two parts, and while the camera and related hardware are back in safe hands, computers with potentially valuable development info are still missing. He goes on to caution us against speculating about "the motives of the thieves or any connection with the industry," and doesn't delve any further into the specifics of the recovery efforts; however, with information about the project and the Mysterium sensor still in the wild, we can't help but speculate (sorry, Jim) that the IP was the most valuable aspect of this crime to whomever perpetrated it. We'll keep you updated on this case as it progresses, but if you happen to see anyone selling the plans for an 11.4 megapixel camcorder out of the back of a truck, please do the right thing and give Team RED a heads up.[Via CrunchGear]
