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HOT NEWSROOM SOLUTION I – NRCS (Newsroom Computer System)

Newsrooms are in a continuous process of evolution. To engage audiences on a deeper and more personal level and to do so with lightning speed keeping parity with the ever-increasing number of media platforms, expectations from NRCS is changing. Broadcast Video Producer has selected the best solutions to make your newsroom more efficient than ever by delivering compelling stories at the right time and right way!

The HELIUM platform has been grabbed headlines a few months back when Land offered to sell 20 prototypes to his faithful cadre of filmmakers on the RedUser Forums. RED Users bought out the supply in under 20 minutes, leaving others to wonder when more would go on sale. Even Michael Bay received a special version to film Transformers: The Last Knight.
Now, Land has announced that not only is HELIUM shipping to the masses, but it’s doing so with two different camera platforms, the RED EPIC-W and the straight up Weapon 8K platform. The Helium sensor, at 29.9 by 15.77 millimeters, is smaller than the Dragon sensor (40.96 by 21.6 millimeters) – but will offer the same resolution of 8,192 x 4,320 pixels, each pixel being as small as 3.65 microns. The smaller size will allow the use of a larger range of lenses.
RED WEAPON 8K S35 is the top-of-the line model featuring the new HELIUM sensor. The body is carbon fiber, in a shade close to the dark end of a Technicolor gray scale. It shoots 8K (8192×4320) up to 60 fps, with data rates to 300 MB/s and 5:1 REDCODE RAW at full 8K 24 fps. This model offers a sensor upgrade path to RED DRAGON 8K VV sensor when available. The price is $49,500.
RED EPIC-W 8K S35 comes in a black magnesium and aluminum alloy body. It has the same HELIUM sensor as the WEAPON 8K S35, shoots 8K (8192×4320) up to 30 fps, with data rates to 275 MB/s and 6:1 REDCODE RAW at full 8K 24 fps. The price is $29,500.
35.4 MP Stills
Both models let you grab 35.4 megapixel stills from the 8K video (because 8192 x 4320 =35,389,440 for each frame). If you’re covering Paris fashion week or doing anything in the overlapping worlds of stills and cine, this is a big deal.
ProRes & DNxHD/HR In addition to REDCODE RAW, both models record 4K Apple ProRes (422 HQ, 422, 422 LT) or 4K Avid DNxHR (HQX 12-bit) up to 30 fps, 2K Apple ProRes or Avid DNxHD/HR up to 120 fps. BRAIN SURGERY Hang on, isn’t the HELIUM camera supposed to be white? Yes, RED created those limited edition white WEAPON cameras for a large government agency in Asia. And from that first batch of white cameras, RED had a handful of additional units that they were able to post for a flash sale. And they sold out in less than 5 minutes.
On a recent visit to Japan, Jarred Land, President of RED, was able to watch the white cameras in action—a remote robotic surgery—not exactly what he was expecting for a “broadcast” application. Imagine you’re a brain surgeon using a 70-micron suture, thinner than a human hair, that you now can actually see clearly and sharply in full rez 8K?
Of course, the cinematography isn’t 8K brain surgery. But doesn’t the thought of an 8K ECU send shivers down the spine of a DP ready to confront a major Hollywood star whose complexion hasn’t been helped by heavy-duty partying the previous sleepless night? Not exactly.
RED EPIC-W and WEAPON 8K S35 Sensor
In summary, the new EPIC-W 8K S35 and WEAPON 8K S35 have the same HELIUM 35.4 Megapixel CMOS sensor, with 8192 x 4320 effective pixels (each one is approx. 3.65 microns). The sensor measures 15.8 x 30.7 mm (diagonal 34.5 mm).
RED WEAPON 8K VV (VistaVision)
By now, some may be wondering, “Huh?” Why S35 and what about the RED WEAPON 8K VV camera? Wasn’t Full Format supposed to be the wave of the future?
Quick review: the RED WEAPON 8K VV camera has a DRAGON 35.4 Megapixel CMOS sensor, with the same number of effective pixels: 8192 x 4320. The 8K VV sensor is larger, of course: 21.60 x 40.96 mm (diagonal 46.31). Pixel pitch is approx. 5 microns.
Land explained this at IBC. Having both formats offers more choices to cinematographers. Yes, there are more Full Format lenses coming to market, and there is a lot of interest in the shallower depth of field and big screen look of this large format. However, many productions will continue to work in the existing S35 format. One thing common to all these choices is RED’s commitment to higher resolution—in this case, 8K.
Full Format will eventually take the place of S35 for Features
The head of a large rental company recently said, “Full Format will eventually take the place of S35 for major motion picture production, while S35 will mostly be used for television and productions that previously used 16mm (or ¾-inch).”
Specs
For a complete information about specs, one can download the complete data sheet of RED DSMC Cameras.
RED Digital Cinema has released a short film entitled Underdog that was shot on a WEAPON with the HELIUM 8K S35 sensor.
RED has just made available a short film shot (amazingly by a 19-year old, Jonny Mass) on a RED Weapon Helium 8K loaned to him by Jarred Land for a mere 24 hours. And it tells us a few things about the camera.
19 year old filmmaker Jonny Mass has produced The Underdog, a film shot on a RED Weapon Helium 8K on loan that looks anything but the product of only a day's shooting. It's an extraordinary achievement.
We don't have any real technical details about the production, except that it was shot in 8K. Despite the mundane reality that most of us will be watching this via YouTube on our laptops or phones, we do learn several things from this:
First, this is a real camera that works in the real world. It's not an experimental prototype. 8K Technology is real and it's here right now. We'd imagine it's only a short time until the Helium 8K S35 sensor will be on sale in a RED camera body.
Second, on the evidence of this film, the pictures are great. Insofar as you can tell from a YouTube video, any fears that cramming 35 megapixels into an S35 sensor might result in a noisy picture with limited dynamic range appear to be groundless. The opposite would appear to be the case, with very good detail under what appears to be quite difficult lighting conditions.
Third, proper, high-quality slow motion: remarkable when you consider the data rates at 8K resolution.
Fourth, this is 8K at a human and eminently usable level. If you can make a film like this in 24 hours, then it goes a long way to dispel the idea that 8K technology is somehow going to be beyond the reach of the ordinary filmmaker.
Details about the sensor are still limited – we promise to keep you updated as we learn more.