Introducing the V-RAPTOR [X] 8K VV and V-RAPTOR XL [X] 8K VV

Featuring the acclaimed low-light performance, dynamic range, resolutions, high frame rates and form factor of its V-RAPTOR predecessor, the V-RAPTOR [X] introduces RED Global Vision, which includes an all new 8K VV global shutter sensor, enabling innovative features including Extended Highlights and Phantom Track. Additionally, the V-RAPTOR [X] and V-RAPTOR XL [X] systems offer increased exposure times, a further optimized optical cavity and improved audio performance.

GLOBAL VISION

RED Global Vision uses the global shutter sensor in V-RAPTOR [X] and V-RAPTOR XL [X] to open unprecedented capabilities. Global Vision’s Extended Highlights mode allows the camera to see color and detail into extreme highlights like never before, providing even softer and more subtle highlight roll-off when in uncontrollable environments, and an overall dynamic range of over 20 stops. Phantom Track dual-capture streamlines any virtual production environment employing GhostFrame or frame- remapping, capturing distinct R3D clips per LED wall view, as well as allowing for monitoring of either view live on-set over each SDI.

THE NEW DSMC3 FLAGSHIP SYSTEMS

The V-RAPTOR [X] compact body is built with the keystone features found in the original V-RAPTOR platform, now bolstered by newly engineered in-camera audio pre-amps and an optimized sensor cavity for improved contrast. The V-RAPTOR [X] has 2x 12G SDI’s, capable of unique monitoring views, a locking Canon RF style lens mount for rigid and flexible lens selection, and CFexpress Type B media for up to 800MB/s formats such as 8K at 120fps.

The V-RAPTOR XL [X] is designed to support high-end television and motion picture productions, as well as storytellers requiring an elite all-in-one solution. It features dual-voltage battery support compatible with a wide range of common batteries found on set today, including both 14 V batteries and high-voltage 26 V V-Lock or Gold Mount options. A premier feature remains the built-in electronic ND which allows cinematographers to precisely select their density in 1/4, 1/3, and full-stop increments, providing unrivaled control of exposure and depth of field.

The [X] sensor capabilities reach the exceptional frame-rate performance levels of the V-RAPTOR line even with its global shutter readout. Capturing 8K full sensor at up to 120 frames per second (150fps at 2.4:1), 6K up to 160 fps (200fps at 2.4:1), and 2K (2.4:1) at an incredible 600 frames per seconds. As with the other cameras in RED’s ecosystem, it harnesses RED’s proprietary REDCODE RAW codec, allowing users to capture 16-bit RAW and leveraging RED’s latest IPP2 workflow and color management tools.

"Ever since our sensor team cracked the code for a no-compromise global shutter sensor design in the original KOMODO, customers have been pushing us hard to bring our global shutter technology to our large-format sensors, and today we are happy to deliver beyond our wildest expectations” said RED Digital Cinema President Jarred Land. “We are very proud to not only be at the forefront of global shutter technology but also to be the first company delivering large format global shutter cameras to filmmakers.

“Creating a global shutter sensor while maintaining dynamic range is almost impossible and then on top of that is the addition of an optional Extended Highlights mode. It shows we are pushing image processing far past the limits that were once believed to exceed 20 stops of dynamic range. V-RAPTOR [X] and V-RAPTOR XL [X] are the result of years of incredibly difficult work internally by our world leading engineers and from the ongoing collaborative work with preeminent partners who bring invaluable experience and perspective to the process from cinema technology to virtual production, volumetric capture and live sports.”

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V-RAPTOR [X]

V-RAPTOR XL [X]

Introducing the RED V-Raptor [X] 8K VV

RED's new V-RAPTOR [X] 8K VV combines the benefits and flexibility of large format, global shutter, 8K acquisition, all inside of a compact and feature rich body. A new suite of imaging processing techniques called Global Vision introduces features such as Extended Highlights, allowing the camera to see and extra 3 stops into the highlights, as well as Phantom Track, for Virtual Production environments employing Ghost Frame or Frame Remapping, capturing distinct R3D clips per each sub-frame slice.

DP Cristina Dunlap’s journey from music videos to “American Fiction”

Cinematographer Cristina Dunlap opted for the dynamic range of ARRI’s ALEXA Mini LF on the award-winning and impactful feature film “American Fiction.”

Cristina Dunlap, the talent behind the lens of Amazon MGM Studios’ “American Fiction,” sat down with ARRI to talk about her journey from a 16-year-old photography enthusiast to the director of photography for the critically acclaimed film. Just recently, "American Fiction" was nominated for the Oscar in five categories, including Best Picture. Dunlap’s creative vision was also recognized at the 2023 Toronto International Film Festival, where “American Fiction” earned the People’s Choice Award, underscoring the film’s impactful narrative and visual storytelling. The film also received two nominations at the Golden Globes and five nominations at the 29th Critics Choice Awards, including Best Picture.

Dunlap’s career trajectory is the stuff of a Hollywood script. Her entry into the industry occurred in “a weird way,” starting with a chance meeting. “I met a director at Venice Beach through some friends. He said he was shooting a music video, and I said I was a photographer. From that conversation, he invited me to the video’s set to come take pictures, and to my surprise, it ended up being a real music video for Death Cab for Cutie, who was big at the time.”

It was there on Dunlap’s first professional film set that she discovered the role of a DP and decided to pursue it as a career. Dunlap split her time between two days of community college classes a week and working as a production assistant on as many productions as possible.

Her passion for the art of cinematography was fueled by her hands-on experience on various sets, learning about lighting and equipment from gaffers and grips, and keeping a detailed diary of the lighting setups she witnessed. Dunlap’s attention to detail eventually paid off, resulting in promotions to coordinator and shortly thereafter, production manager. From those promotions and elevated responsibility on set, Dunlap gained invaluable insights into gear, equipment, and best practices on set.

DP Dunlap and “American Fiction” director Cord Jefferson connected on vision almost immediately

After two years of splitting her time between community college classes and working, Dunlap transferred to USC’s film school, continuing to work while finishing her education. The years following her graduation from USC’s film school saw her work diligently on a variety of sets, continuing to build a robust resume of work as an operator while maintaining and developing connections along the way. She credits producer Melissa Larsen with nurturing her aspirations, providing opportunities to operate cameras, and encouraging her to build her body of work through music videos and commercials that eventually became her showreel.

Dunlap’s break into “American Fiction” came somewhat serendipitously through a connection she developed on a music video set. Despite not having much correspondence with this connection, Dunlap was one of a few cinematographers shortlisted to meet with the film’s first-time director, Cord Jefferson. Dunlap was the first cinematographer that Jefferson met with, and her passion for the project was evident from the start, as the script immediately inspired her with vivid images. She compiled a lookbook that perfectly aligned with Jefferson’s vision, securing her role as the DP.

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