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RED Digital Cinema is pleased to announce the DSMC2 Trade-In Program! This program provides customers with the opportunity to trade-in their DSMC cameras for one of RED’s new DSMC2 cameras. RED accepts the following DSMC cameras for a trade-in credit on a new DSMC2 MONSTRO, DSMC2 HELIUM, or DSMC2 GEMINI. The customer’s trade-in credit is the DSMC2 BRAIN price minus the trade-in price. This program applies only to DSMC2 cameras purchased on or after May 21, 2018. This is a limited time program. RED reserves the right to end or alter this program at any time without prior notice.

This software update adds performance enhancements for Video Assist 4K.

ABC’s “Castaways,” which was shot and produced by Nomad Entertainment using VariCam LT 4K cinema camcorders, is a revolutionary series testing the hu-man need for companionship under extreme circumstances as each individual learns there are other castaways out there but are unaware of how many, their locations or when they will be res-cued. This visually stunning, new reality series follows 12 diverse individuals as they’re dropped alone throughout various islets in Indonesia and challenged to survive among washed-up luggage, scattered resources and abandoned structures. “Castaways” premieres TUESDAY, AUG. 7 (10:00-11:00 p.m. EDT), on The ABC Television Network, streaming and on demand.

The only way to leave the remote islands is to persevere long enough to be rescued or to quit. As dramatic situations unfold on an expanse of islands in the South Pacific, the series flashes back to the real lives of each participant in documentary fashion, demonstrating haunting parallels to the lives they left behind. Grant Kahler serves as showrunner. The series is produced by Nomad Entertainment.



The contemporary action in the series was shot in a remote part of Indonesia, with the “home re-call” documentary segments shot in New York, Nashville, Alabama, North Carolina, Los Angeles, Colorado, Idaho, Oregon, Washington State, Las Vegas, Honduras and the Dominican Republic.

Director of Photography Neil Moore supervised multiple teams of camera operators who shot the mini-documentaries in parallel, with up to 12 operators then assigned to the Indonesian location work.

Moore had previously shot with the VariCam 35, and showrunner Kahler had used the VariCam LT. “The first two weeks of production we worked with larger cameras and bigger lenses, which just wasn’t conducive to our fast, cinema vérité style,” the DP recounted. “The LT was a very ap-pealing alternative, especially because of its dual 800/5000 ISOs. We had no time for lighting, and we were working with predominantly natural light with plenty of dark interiors and exteriors. The camera’s ISO 5000 setting is so clean, and you can switch easily without having to ride gain.”

Moore said he routinely used ISO800 for daytime work in Indonesia, but with a significant number of “easy clicks over” to ISO5000, for instance, for a nighttime scene lit only by firelight.

The series was shot in AVC-Intra 4:4:4 1080p. “We gathered an incredible amount of footage, with 12 cameras simultaneously shooting eight hours a day,” Moore said.

“The tropical humidity was pretty insane, but we experienced no overheating or stopped files with the LTs,” the DP added. “Beyond ruggedness and ease of use, other stand-out features of the cameras were the unique Focus Squares tool —a must, especially with the long lens work—and the on-camera control panel that can double as a monitor. The LT is, overall, a simple, intuitive camera.”

The VariCam LTs were outfitted with Fujinon Cabrio 85-300mm and Canon 17-120mm ENG-style lenses, with Sigma Primes used for some night work. The camera packages and lenses were rented from GQC Entertainment in Los Angeles, CA.

This software update adds improved support for timecode and closed captioning to Mini Converter UpDownCross HD, along with general performance and stability improvements.

What's new in Converter Utility 7.3.2

• Closed Caption support for Mini Converter UpDownCross HD
• Improved timecode support for Mini Converter UpDownCross HD

Panasonic’s next-generation PTZ camera supports high-quality video production in stadium, lecture halls and other venues. Smooth and high-quality UHD (3840 x 2160) 60p/50p, high-magnification zoom and a wide shooting angle expand the range of the PTZ camera’s applications. The camera is equipped with a variety of interfaces (incl. 12G-SDI and Optical Fiber) and supports simultaneous 4K/HD operation which allows for versatility in current and future production systems. Available Q4/218.