ASL Gear is a company that designs and manufactures accessories for the Red ONE and other HD camera systems. The Remote Interface Box, or RIB Kit is comprised of two of the company’s products, RIP and RIB (remote interface breatkout box) designed to provide crews using the RED some more robust interface options for getting video, audio and timecode signals in and out of the camera.

From the company’s website.

Now you can finally plug full size XLR’s and BNC cables directly into your RED ONE® without the need for adapters. You also get Genlock and Timecode functions via the BNC panel. The ‘RIP’ provides quick and easy access to the RED’s I/O interface. The RIP easily attaches to the connector side of the camera and can be used in Stand Alone Mode, or with the ‘RIB’ Break-Out Box

In the video above RED user Jay A. Kelley reviews and explains how this product came about and how it can be used to make camera crews lives a bit easier when shooting with RED  in the field.

Fincher, an artist who has pioneered the use of emerging HD and digital tapeless workflows, shot nearly the entire film with the Thomson Viper FilmStream Camera, with additional help from Sony’s F23 Cine Alta. The media was captured using digital film recorders and iDocks from S.two corporation and Kona capture cards from AJA video.

Post production supervisor Peter Mavromates used an S.two iDock on set and was able to capture full resolution DPX files while simultaneously generating DVCPRO HD “dailies” clones. These were immediately shipped back to Fincher’s offices in Los Angeles for editor Angus Wall and Kirk Baxter to assemble. As soon as the editors had something to show, the cut scenes were compressed and uploaded via FTP for the directors review.

Once again, David Fincher is dragging Hollywood kicking and screaming into the digital age. With the completion of his latest project, he demonstrates the physical, creative and financial efficiencies afforded by a file based workflow. All the more impressive on a project with a budget of approximately $150 million dollars, in production for 2 years.

Although this article specifically focuses on the use of Final Cut Pro in the process, with some minor adjustments it could equally be applied to workflows for editors cutting with other software such as Avid’s Media Composer, Adobe’s Premiere and others.

Today we have the 3rd installment of our 3-part interview with cinematographer John Leonetti, ASC, about his experience shooting his latest film, “Hybrid”, with the RED ONE digital cinema camera. In this last segment John and I talk about the state of screening dailies in present day Hollywood and whether he had a DIT (digital imaging technician) on set while shooting “Hybrid”. I then get down to brass tacks and ask John my two most pressing questions; his feelings about the future of celluloid and if he thinks the RED digital cinema camera is revolutionary enough to change the balance of power in Hollywood.

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Link to Part I
Link to Part II

Today we have Part II of our interview with cinematographer John Leonetti, ASC about his experiences shooting his most recent film “HYBRID” with the RED digital cinema camera. I ask John about the level of training that was needed for himself and his crew and the kind of support he received from Toronto rental house PS Production Services. We go on to talk about the Cooke S4 lenses he used and his thoughts on how these lenses complimented shooting with RED. Next he tells us about shooting 4K RAW and what it is like reviewing his work using 4K stills on his MacBook Pro. Finally I ask him if and how he changed his working style shooting with RED. It’s a fascinating and informative talk for anyone who is interested in the “bleeding edge” of digital filmmaking.

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Link to Part I
Link to Part III

The RED digital cinema camera is causing a stir. It’s the paradigm shifting, production tool equivalent of Apple’s Final Cut Pro and it’s changing everything about ultra-high resolution digital cinematography. Directors such as Peter Jackson and Steven Soderberg have embraced it, and the Southern California based company can not make the camera and its accessories fast enough. In fact, if you were to order a RED camera today, it wouldn’t ship until December; that’s how hot this thing is.

That’s why I was delighted when I heard my friend, cinematographer John Leonetti, had just shot his latest film, HYBRID, with six RED cameras on location in Saskatchewan, Canada. HYBRID is an action thriller, and as John reveals, the thirty-one day schedule really put the RED system to the test. Here is part one of a three part series on John’s experience shooting with the RED; his background with digital cinematography cameras from other companies; his thoughts on the future of film and finally, the RED camera’s potential effect on the future of Hollywood.

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Link to Part II
Link to Part III