Since 2007, RED cameras and 4K digital photography have become the industry standard. In addition, RED enabled shooting in RAW image format – another now-standard industry practice – since RAW gives editors and filmmakers editors significantly more control over color correction, contrast enhancement and dynamic range compression. Soon after RED’s debut, other major camera companies like Arriflex, Panavision, Aaton and Sony announced that, going forward, they would produce only digital cameras.
Major films shot on RED include:
During the shoot our client said he’d sure like to get stills of key shots for promoting his services in high-end publications like Architectural Digest and Luxe. Those require 300 dpi images, but prior to RED, video stills were only available at 72 dpi and quite unsuitable for print media.
While RED digital photography is great for editors and filmmakers, how does one convert 50 fps, 60 fps or even higher into single stills? RED’s Digital Stills and Motion Camera, or DSMC, system makes this possible using RED Scarlet or RED Epic and Mysterium-X or Mysterium Monstro sensors.
We transcode RAW workflow and use REDCINE-X PRO editing software to non-destructively edit our RED files with traditional tools like white balance, curves, and saturation. We can also mark individual frames during the shoot so that when my footage is imported, each frame marker is displayed. This lets us easily choose the stills our client wants. And with Advanced Dragon Debayer, or A.D.D., we can analyze each pixel to deliver the best possible still.
Is the process of creating stills from video time-consuming? Definitely yes, but our client is happy and gets a better return on his investment. And that’s our ultimate goal.