DEFINITION December 2018

USER REVI EW | RED RH1

IMAGE QUALITY I found the images and video in 2D to be a bit undersaturated, and a touch soft as compared to my iPhone. The low light images look astounding with a texture in the out of focus areas resembling the grain of film. The 3D images leap out at you in the right context. With something close to the screen, wide shots and vistas do not handle the 3D well here. For the 3D to work, I suggest users start out with an ‘in-your-face’ 3D for the most enjoyment when starting out. While somewhat larger and noticeably heavier than my iPhone X, the aluminium RH1 is substantially built, with a textured grip and scalloped edges giving it a secure, tactile feel in the hand. It’s configured externally with a headphone jack, volume control UNDENIABLE QUALITY OF THE A3D AUDIO OUTPUT” “YOU SHOULD HEAR THE

buttons, a fingerprint scanner and a dedicated shutter button for the camera. New users only need to turn the device over and see the connections on the back of the phone to understand why many shooters want to get one. Little has been released on the nature of what might be available as externalised modifications to the list of upgrades. THE FUTURE? I eschewed RED’s cine camera offerings for a long time, yet the steps the company have taken in recent years have changed my perspective. I purchased a RH1 for the glimmer of a mobile-centric cinematic future, driven by the now waning DSLR craze, as users look to smaller, lighter, more portable ways to maintain their edge creatively. Since the RH1 has not evolved beyond what I ordered 15 months ago, it is nearly out of date as a mobile phone. Yet, I see a new world of art and journalism in it, driven by a new generation of mobile devices, no longer just a juiced-up phone, but the basis for truly portable ecosystem designed around not what is now, but what will be needed in the future.

IMAGES The RH1 may open up a new world of art and journalism.

Gary Adcock is a technology- driven synergist in acquisition, editing and delivery of the advanced workflows required for Media and Entertainment. He is a technologist in defence and manufacturing, cinematographer. From his US base in Chicago, Gary offers developmental insights into all aspects of the continually changing pre-production, post and production marketplace, while focusing on advancing cinema product development, international branding and market penetration in Media and Entertainment. BIOGRAPHY as well as an established producer, director and

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