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Use The Red One Camera On Your Next Shoot

The Red One Camera
TVA Director/DP/Editor Mark Mannschreck has taken possession of one of the very first Red One cameras.
The Red One camera is capable of recording at resolutions up to 4096 horizontal by 2304 vertical pixels (12 mega pixel) at 24fps and higher. The camera has a S35 sized sensor and uses Cine 35mm PL mount lenses for stunning imagery exceeding that of ultra HD and 35mm motion picture film.
For more info about this camera go to: www.red.com
Red #41 is immediately available for new TVA clients.
+ View Enlargement + View Enlargement + View Enlargement + View Enlargement
AVAILABLE NOW!
Equipment list :
  • REDONE #41MX
  • RED 18-50 zoom
  • 24 f1.4, 35 f1.4, 50 f1.2, 85 f1.2, 135 f2 Canon EF L series primes
  • 24-105mm f4 Canon EF L zoom
  • Red LCD
  • Red EVF
  • Red Premium Production Pack +
  • Red Charger X3 Red Brick
  • Red 5.6" LCD
  • 10' EVF/LCD lemo Cable
  • Element Technica Breakout Box
  • Element Technica "Hybrid" Bridge Plate (works with 15 studio, 15 lightweight, and 19 rod setups)
  • 150mm Ball Adaptor
  • Red Laser Cut Pelican Case
  • TIFFEN/SCHNEIDER ND 3, 6, 9, 1.2, 1.8, Grads, 138mm round Schneider trupol
  • Red CF X5
  • Red Drive
  • Nikon Mount
  • 17-35/35-70/85mm nikkors
  • Red Camera Cart
  • Chrosziel S16 (covers 18-50)
  • Element Technica Arri Dovetail 12"
  • Production pack +
  • 12", 18", & 24" Steel Rods
  • Element Technica Lightweight Rods
  • 15mm Rod Adaptor
  • Red Arm 5" X2
  • Red Arm 9"
  • Red Handle Mount, Handles, top Handle + Extension
  • KATA Banana 3 quickdraw case
  • Sachtler 25II w/carbon fiber
  • Element Technica "Mantis" handheld support system
  • Sachtler 25II + Carbon Fiber
  • Red Rock Follow Focus
  • 4X4 filter kit
  • Arri Softbank 1
  • Electrosonic 195/Tram wireless system
  • Rode NTG 2 shotgun & Fishpole
  • Universal Mounts X4
  • Top Mounts X2
  • Side Handles X2
  • Red Cheese Plate
  • Focus Hook
  • Red Charger X3 Red Brick
  • Red CF X 5
  • Red Drives X 2
  • Red Camera Cart
  • 150mm HiHat
  • Chrosziel Mattebox
RED EPIC CAMERA ORDERED!
Stage 2 EPIC-X package will include: an EPIC-X S35 MYSTERIUM-X brain with a PL mount, a 5" touchscreen LCD, a REDMOTE, a SIDE CF MODULE, a MODULE ADAPTOR, a BASE I/O MODULE, a PRO BATTERY MODULE, two REDVOLT batteries, and a travel charger.
Luxury Linens, makers of "Neat Sheets "was among the first to have their project shot by TVA with this groundbreaking new camera on September 11,2007.
Be one of the first to have YOUR project shot in what can only be called ULTRA HD.
Contact us for more information: info@tvaproductions.com
Testimonials
I liked what they were doing-making a digital camera of the utmost quality, and making it affordable for indie filmmakers.
Academy Award winning Director, Peter Jackson
Director and Producer of The Lord of the Rings trilogy and King Kong
This is the camera I've been waiting for my whole career jaw-dropping imagery recorded onboard a camera light enough to hold with one hand. ...RED is going to change everything."
Academy Award winning Director, Steven Soderbergh
Director and Cinematographer of Ocean's Seven, Traffic and Solaris
I have had the opportunity to test the RED ONE camera over the past few weeks, including direct comparison to the same film I shoot on '24'. All I can say is that I am totally amazed. Revolutionary might not be a strong enough word to describe what RED is doing.
Rodney Charters Cinematographer on 24
Rim is dead. And by the way, so is video. The word is getting out that RED is the future, but for us it is right now. After holding these bad boys in our hands and putting the cameras through the full neveldine/taylor acid test our faith in the mad scientists at RED labs is unlimited. We're committed to RED for every project we've got in the pipeline.
Mark Neveldine and Brian Taylor Writers and Directors for Crank
We're shooting RED side by side film. We scanned the film 4k and took both into the Baselight, compared them and then did a filmout of both, When we screened side by side, we literally could not tell the difference. In fact, most people picked the RED footage as film because of a greater dynamic range in the highlights than in the 5218. V\fe are actually inter-rutting the digital image*; with film. It's not enough to say it is the hest digital image out then?. The RR1 image looks remarkably better than the filmed images. I thought I would never be able to say that
Jon Farhat
VFX Supervisor of Wanted