Simply put, Red is a Super-35MM motion picture camera with unsurpassed image quality.

The resolution, tonality, color-depth, dynamic range and subject isolating depth of field are what you expect from a high-end Arriflex or Panavision Super-35MM film camera.

So, what's different about Red?

Red captures ultra-high resolution 4K RAW images to digital.

Professional viewers find the images more like 4K scans of 65MM film!

On the set, you'll change nothing. Zip. Oh, you'll have a High Definition display and playback instead of a primitive video assist, but that's about it. Think 35MM film shoot and that's what you'll experience, just a bit more convenient.

Want to over-crank for majestic slow motion? Want to under-crank? OK. Red offers variable shutter timing and frame rates from 1fps to 120fps, including speed ramping and time-lapse.

Want the versatile Cooke 18-100 Zoom? Mount it up. Prefer Zeiss primes? Open the case. Need a very long telephoto or ultra-wide angle? No problem. Macros, fisheyes, snorkels, any specialty 35MM lens is available for the Red.

Budgeting is where the big fun starts. First, shift the dollars you would have paid to Kodak and the film lab to things that make a big difference on the screen. Want more extras? Get them. Bigger, better sets? No problem. Want that terrific talent from Los Angeles? They are one first-class ticket away. And what could you do with an entire extra shoot day?

You'll get to post much quicker because there's no need for a film lab. The Red digital footage transfers to edit faster than real time, so you can edit and color grade almost immediately with the most spectacular images you've ever seen.

The heart of the Red camera is the 12-megapixel Mysterium™ Super-35mm cine sized (24.4 x 13.7mm) CMOS sensor that produces RAW images with virtually no grain or noise. It's what you expect from Super 35MM film except without the considerable cost of stock and the time delay for processing.

Shooting with Red offers flexibility and the unsurpassed image quality of shooting with a 35MM film camera, using 35MM PL-mount lenses for ultra high resolution and selective focus of cinematic depth of field.

The real beauty is in the RAW images. RAW let's you reach deep into the blacks and adjust hues, saturation, contrast, gamma, exposure; reshape the knee, shoulder and toe of the response curve to suit your vision.

RED footage is a post-production dream come true; rock steady, grain and noise free for the best chroma keys available anywhere.

Imagine the possibilities of printing from the full-sized, 4096 x 2304 pixel TIFF files.

Choose any frame and print large posters just as you would from a professional 35MM still camera. All files are in the RAW format, so the range of color grading and image adjustment is huge.

Does this mean you probably don't need a still photographer on the set? You know, those are very talented people who do a great job, but slow production to a crawl. Just take a Red still frame and make a four-foot print.

The answer will be obvious.

The bottom line is what it's always been: A relentless quest for image quality. Red delivers images like no other camera and something else: The ability to put more production value on the screen.

As an example, consider the expense of shooting a commercial on film at about $1,000 for each ten minutes of stock and processing, not including the cost of telecine and color grading, probably in excess of several thousand dollars more.

Compare this cost to shooting the same job on RED. A couple of LTO drives for long-term archival storage, which cost chicken feed, and color grading with RedCine at Leo Ticheli Productions at little more than editing rates.

Even on a relatively small job, shooting with Red gives you many thousands of dollars to apply to things that make a real difference on the screen where it really counts.

"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. It's not enough to say it is the best digital image out there. The fact is, finally, we can intercut digital with film. It looked remarkably better than the filmed images. I thought I would never be able to say that"

Jon Farhat | VFX Supervisor of Wanted

"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."
"I feel I should call up Film on the phone and say, 'I've met someone.'"

Academy Award winning Director, Steven Soderbergh | Director and Cinematographer of Ocean's Eleven, Traffic and Solaris

"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

"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

As terrific as the Red camera is, it's no better than the team behind it.

Leo Ticheli Productions is staffed with seasoned professionals and young hotshots working with state-of-the-art equipment.

To put this incredible camera to work for you, please contact Cameron Ticheli