Meet Christine: Introducing Our New B-Cam The R1MX

So first it weird to name electronics? Probably. However, we work so closely with our Red cameras day in and day out that we have always not only named them, but introduced them to the world that way. As weird as it may be, these cameras really are part of the CW family. With that said, meet Christine.

To understand why we chose this camera, you have to understand the problem that preceded it. Warning: this might get a bit technical. Every camera your company owns simply can't be a $60,000 Red Epic Dragon kit, that's why you have an A camera and a B camera. The reasons for this are both budgetary and functional, some cameras are better at different things than other cameras. For a company like ours, versatility is key. So we have always used different cameras to complement our primary Red Epic

The problem with this in most cases is that different cameras have different image characteristics, both good and bad, and when the two cameras need to be intercut to make an edit, a tremendous amount of time and energy has to go into making the two cameras match. This is never ideal, because both images need to be compromised in some way to get them to come together. Make sense? Good.

Recently we started to investigate what cameras would meet the requirements of versatility and quality, while still being a more compatible match in the image department. This is hard because of the extremely high standards we have set for our image quality, as well as the fact that Red sensors simply have a magical mojo that no other camera can seem to capture. So we began looking at the slightly "mature" yet highly regarded Red One MX. This truly is the camera that started it all. When Jim Jannard, the founder of Oakley, brought this camera to market, he fundamentally flipped the entire film industry on its head by lighting the fuse on the entire digital cinema revolution. For the first time digital was as good, and sometimes better than film.

With highly acclaimed films like "The Social Network", "The Girl With The Dragon Tattoo", and "Fright Night" its hard to knock the Red One MX's resume. Also, the fact that it shoots true 4.5K REDRAW with image characteristics very similar to our outstanding Red Epic Dragon (6K) made this camera an outstanding choice. I could preach all day about the things that make this camera a wonderful choice for any high quality film production, but instead I will leave it at this, the camera may have been originally designed in 2007, with a massive sensor change/upgrade in 2010, but it is still better in almost every way than many of the top cameras competing in the $50,000 space today.

Until next time,
Andrew Allsbury
Owner & Creative Director