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Why The Red Rocks, Part II
You'll find that kind of full-frame sensor at the core of any high-end digital single-lens reflex camera. But they're designed to shoot no more than 10 frames per second. That's warp speed for still photographers but barely first gear for filmmakers. Movies are shot at a minimum of 24 frames per second, with some scenes topping out at 120 fps for slow-motion effects. The Red's sensor would have to do everything a DSLR sensor does—and do it significantly faster.
The camera also had to be able to record in the same bulky file format that DSLRs use—called raw. The format preserves picture data in essentially unprocessed form, which gives photographers more latitude to tweak images with software the way they once did in a darkroom. (Cinematographers do the same thing with 35-mm film, but it's a complicated, expensive process: The film must be scanned into digital to be manipulated, then converted back to analog for projection.) Since a movie is just a long sequence of still pictures, using the raw format presented bandwidth and data-storage problems. A two-hour feature could run up to 7 terabytes. The Red engineers built a workaround, a lossless compression codec they call Redcode Raw.
Finally, in August 2006, Jannard's team flipped the switch on Red's first prototype, codenamed Frankie. It wasn't really a camera at all, just a mechanical test bed containing the new sensor. "Our whole business was predicated on this sensor," Jannard says. "If it didn't work, we'd be cooked. When it did, it was like giving birth and counting all the fingers and toes to make sure everything was there. It was phenomenal. Everybody went nuts." Schilowitz remembers that moment, which camera makers call first light, as mind-blowing: "Everyone started screaming like little kids, 'First light! First light! It's alive!' The thing actually worked."
Two weeks later, at an industry event in Amsterdam, Jannard showed test footage taken with Frankie—a clip of two perky women in '50s garb chugging milk from glass bottles—on a 60-foot screen. "People were stunned," Schilowitz says. "They were standing around scratching their heads. That moment made a lot of people into believers." Filmmakers didn't care how the Red One worked, but they liked what they saw. "The Red camera is the closest thing to film I've seen," says Tristan Whitman, a cinematography lecturer at USC.
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