Video
- Recently Added
- Popularity
- Name
About 106 filtered results
by Mary Latvis · Posted
Following up on RED Digital Cinema's announcement of its streamlined camera array, here is a more detailed look at the new RED lineup. In a nutshell, RED is offering a choice of three image-sensor options, each packaged in the same DSMC2 BRAIN (camera body), but with capture options attuned to specific production needs. The three cameras are the crème-de-la-crème MONSTRO 8K VV, the workhorse
by David Adler · Posted
One of the most attractive aspects of RED cameras is modularity. The latest DSMC2 camera models are especially flexible, enabling minimalist to “everything but the kitchen sink” configurations that are only limited by your imagination. Since the RED DSMC2 platform provides a blank slate to build a camera, I inquired of my coworkers to see how they would build out their RED camera from the myriad options offered here at B&H. I’ve also included my own thoughts at the end.
Mary Latvis
For owner/operators looking to purchase a RED DIGITAL
by David Adler · Posted
Making a comeback at the NAB Show, in 2018, RED is introducing its latest camera, the RED EPIC-W GEMINI. This BRAIN features a 5K Super 35-sized sensor, which incorporates a new feature, dual sensitivity modes. Essentially, the sensor can operate at two discrete sensitivities, Standard Mode and Low Light Mode. For most scenarios, Standard Mode will produce the image quality expected from RED's digital cinema cameras.
by David Adler · Posted
While RED Digital Cinema Cameras have been available at B&H for the last several months, we are pleased to announce that the RED WEAPON HELIUM 8K S35 and the RED WEAPON MONSTRO 8K VV cameras are now available for purchase, besides the already available RED EPIC-W,
6,476 Views· Posted
ARRI made cinematic history when the company introduced the ALEXA, in 2010. Now, with the introduction of the ALEXA LF, ARRI has taken its technical know-how and applied it to create a large-format cinema camera. In the video below, Michel Suissa, from The Studio at B&H, converses with Sebastien Laffoux, the President of Camera Sales for ARRI USA, about the ALEXA LF and its new features, as well as its ability to fit into modern cinema and TV production
by David Adler · Posted
If you ever wanted to upgrade to a RED Digital cinema camera, there is no better way than with the RED DIGITAL CINEMA Third-Party Trade-In Program. As a RED sales partner, B&H will accept trade-ins of select digital cinema cameras for up to a 25% discount on RED EPIC-W and RED SCARLET-W
by David Adler · Posted
Mirrorless cameras have the distinction of being tiny, yet able to deliver some outstanding image quality, sometimes on par with dedicated cinema cameras. This kind of image quality in such a small form factor allows cinematographers to get shots they otherwise would not be able to, without compromising on image quality. On the flip side, though, their ergonomics are not really tailored to conventional cinematic shooting. Sure, you could throw a mirrorless camera on a tripod for some stability, but the built-in viewfinder is rendered out of
by David Adler · Posted
Welcome back, intrepid explorers of the RED DSMC2 ecosystem! In the first part of this bisected examination of the DSMC2 ecosystem and what it has to offer, I explained the philosophy behind the DSMC2 ecosystem and went over the first three building blocks of a RED DSMC2 camera: the
by David Adler · Posted
If, for whatever reason, you’ve had your eye pressed to the viewfinder for the past several months, the news that B&H is now a reseller for RED Digital Cinema cameras and associated products may have passed you by. If that was something that you were pining for, rejoice! However, that exuberance may be slightly offset when you see just how many options are available for building RED cameras. Many cameras on the market from other manufacturers are all-inclusive;
by Steven Gladstone · Posted
I can remember the SMPTE meeting that took place in 2010. It was a defining moment in digital capture, with discussions comparing three sensor-prism cameras and single-sensor cameras, all following the news that after 88 years, a prominent film lab in New York had decided to stop processing film. Then, ARRI showed the demo footage from its newest digital camera. The subject of the footage was exactly what we all asked for, but never seemed to get to see, until then. I’d love to write that you could hear the jaws hitting the floor, or wild
by Steven Gladstone · Posted
We at B&H photo are pleased to announce the new Panasonic EVA1, which neatly fills the space between the Panasonic’s VariCam LT and GH5 cameras. Weighing less than three pounds and featuring a
by Mary Latvis · Posted
In some exciting pre-NAB news, Blackmagic Design has announced the introduction of its latest iteration of the URSA Mini, the URSA Mini Pro. The new Mini Pro features ergonomically designed side-panel controls, built-in optical ND filters, an interchangeable lens mount, and a high-visibility LCD panel. The URSA Mini Pro retains the 15-stop dynamic range, 4.6K-resolution sensor, and up to 60p/4.6K frame rate of the URSA Mini. Recording
by David Adler · Posted
Canon continues to cultivate its presence in the pro video segment with the announcement of the new Canon Compact Servo 18-80mm T4.4 Zoom Lens and the Multi-Purpose ME200S-SH Camera.
Being lightweight, at 2.7 pounds, and covering a very
by David Adler · Posted
Admit it: when you heard about the Lytro Light Field and Illum cameras, you wanted there to be a Lytro Cinema Camera. The ability to refocus and determine your image’s depth of field after the time of capture would be invaluable to nearly any production. Today, Lytro announces just that—the Lytro Cinema. Not just a camera, Lytro
by David Adler · Posted
Once touted as a headlining feature on only the highest grade digital video/cinema cameras, such as the Sony CineAlta line, log (logarithmic) recording has become a mainstay on more affordable professional products, such as the Canon EOS-C series, and more accessible through prosumer products like the Sony α-series mirrorless cameras. One of the reasons log recording has become so prevalent is that it is often associated with the idea of better image