The Making of The New Boy Warwick Thornton's The New Boy, about a 9-year-old Aboriginal Australian orphan at a remote monastery, has garnered multiple accolades including the Golden Frog from the 2023 Camerimage International Film Festival, Best Cinematography from the Australian Academy of Cinema and Television Arts, Best Non-U.S. Release from the Online Film Critics Society, and a Spotlight nomination from the American Society of Cinematographers. Go behind the scenes in this exclusive video interview with the filmmaker.
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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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"This is the email that I have been dreading for some time now, but I thought you would like to know that Alec, who was the founder chairman of the GBCT back in 1978, died yesterday afternoon.
Dad had been ill for some time, battling with dementia and living in a care home in Denham for the last eighteen months, but while it is incredibly difficult for the family at this time, there is some small consolation that at least his suffering is now ended. Suzy, his wife, was with him at the end. In truth we had been expecting this for a while, but it will still leave a big hole to be filled; as far as the camera department is concerned, it also feels like the end of an era…
The attached picture was taken back in 1978, when Alec was working in Paris on Moonraker. At that time the GBCT was literally in the process of trying to find its feet, but they were interesting and undeniably more exciting days.
Funeral details TBC, but is likely to be held in the Beaconsfield area"
from Simon Mills
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