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RED returns to @mpts_london 2026. Visit Stand B45 to see our Cine-Broadcast workflows in action and explore our latest lineup. Highlights include the Cine-Broadcast Module with EVS integration, for 4x super-slow-motion at 4K, and the MPTS debut of the V-RAPTOR XE, bringing RED’s large format global shutter sensor, low-light performance, and R3D recording to a more accessible platform.

Come see our partners who will help bring these systems to life on the show floor: Blue Lucy, Cmotion (@cmotionlcs), Cyanview (@cyanview_), EVS (@evsequipment), Fujinon, Skaarhoj (@skaarhoj), Tiffen (@tiffencompany), Videndum, Vislink (@vislinktechnologies), Zeiss (@zeisscameralenses).

13–14 May | MPTS 2026 | Olympia London

RED returns to @mpts_london 2026. Visit Stand B45 to see our Cine-Broadcast workflows in action and explore our latest lineup. Highlights include the Cine-Broadcast Module with EVS integration, for 4x super-slow-motion at 4K, and the MPTS debut of the V-RAPTOR XE, bringing RED’s large format global shutter sensor, low-light performance, and R3D recording to a more accessible platform.

Come see our partners who will help bring these systems to life on the show floor: Blue Lucy, Cmotion (@cmotionlcs), Cyanview (@cyanview_), EVS (@evsequipment), Fujinon, Skaarhoj (@skaarhoj), Tiffen (@tiffencompany), Videndum, Vislink (@vislinktechnologies), Zeiss (@zeisscameralenses).

13–14 May | MPTS 2026 | Olympia London

Join @av8sg June 9–11 in Singapore for a 3-day, hands-on REDUCATION course focused on real-world shooting across the RED ecosystem.

Get hands-on with V-RAPTOR [X] and KOMODO-X while covering exposure, color science, compression, and post workflows in Resolve, Premiere, and REDCINE-X.

Link in bio for more details.

Morgan Maassen (@morganmaassen) follows Freddie Meadows (@freddiemeadows) through the frozen coastlines of Sweden’s Baltic Sea and into the Arctic Circle in Rán: A Scandinavian Surfing Saga. Battling snowstorms, icy waters, and fleeting swells, the film captures a relentless search for surf in some of the harshest conditions imaginable.

Shot over several years on V-RAPTOR by Morgan Maassen.

Watch this surfing saga at link in bio.

#ShotonRED #VRAPTOR #R3D

Celebrating cinematic storytelling through RED’s Behind the Look, RED BTS, and Stage 4 interview series featuring the filmmakers, cinematographers, and creative voices shaping modern cinema.

Explore the full Behind the Look collection at the link in bio.

Director and DP Jamie Brooks (@collectivedigital) breaks down a continuous take from Volare, filmed inside the historic Kosciuszko Chalet with Valentino Guseli. Moving through a single hallway in one unbroken frame, the shot shifts between wide, open compositions and tighter moments that subtly reshape the emotional tone as the scene unfolds, following Guseli’s return from injury as he pushes toward Milan-Cortina 2026.

#ShotonRED using the V-RAPTOR with Z Mount and the NIKKOR 28–135mm PZ.

Director: Jamie Brooks
DOP: @mikecalvino
Producers: @_ebonymorrison, Jamie Brooks
Editor: Jamie Brooks
Cinematography: Jamie Brooks, @mikecalvino, @nathanprostamo, @emmetlamb, @johnroderickdp, @russell69
Additional footage: @wade_gardiner, @primeparksessions
Photographer/Fixer: @andrew_fawcett
BTS Cinematographer: @joshwalshdop
BTS Photographer: @andrew_fawcett
Mountain Safety: @jenosan1
Production: @jetlange_wolfman
Colour: @nicholas.andrews.studio
Sound: @dylanbarfieldsound
Motion: @teyberg
Art Direction: @emma_vanzaane
Film: @kodak_shootfilm
Processing: Neg Lab
Scanning: @memorylabfilm

Director and DP Jamie Brooks (@collectivedigital) breaks down a continuous take from Volare, filmed inside the historic Kosciuszko Chalet with Valentino Guseli. Moving through a single hallway in one unbroken frame, the shot shifts between wide, open compositions and tighter moments that subtly reshape the emotional tone as the scene unfolds, following Guseli’s return from injury as he pushes toward Milan-Cortina 2026.

#ShotonRED using the V-RAPTOR with Z Mount and the NIKKOR 28–135mm PZ.

Director: Jamie Brooks
DOP: @mikecalvino
Producers: @_ebonymorrison, Jamie Brooks
Editor: Jamie Brooks
Cinematography: Jamie Brooks, @mikecalvino, @nathanprostamo, @emmetlamb, @johnroderickdp, @russell69
Additional footage: @wade_gardiner, @primeparksessions
Photographer/Fixer: @andrew_fawcett
BTS Cinematographer: @joshwalshdop
BTS Photographer: @andrew_fawcett
Mountain Safety: @jenosan1
Production: @jetlange_wolfman
Colour: @nicholas.andrews.studio
Sound: @dylanbarfieldsound
Motion: @teyberg
Art Direction: @emma_vanzaane
Film: @kodak_shootfilm
Processing: Neg Lab
Scanning: @memorylabfilm

For the blizzard-bound hardware-store sequence in Ben Wheatley’s @mr_wheatley Normal , cinematographer Armando Salas, ASC @cinesalas built a distinct visual identity around three practical elements: strobe alarm lights, a triggered sprinkler system, and a global shutter camera. Gaffer John Clarke programmed five Prolycht LED Fresnels — mounted behind art-department-cut glass diffusers — to fire in a fast-burst, slow-chase pattern, completing a full cycle in just under a second. Salas chose the Red V-Raptor XL@reddigitalcinema specifically to avoid the broken-frame artifacts a rolling shutter would produce when capturing frozen, backlit snow mid-strobe.

Read more at the link in bio.

#Cinematography #AmericanCinematographer

For the blizzard-bound hardware-store sequence in Ben Wheatley’s @mr_wheatley Normal , cinematographer Armando Salas, ASC @cinesalas built a distinct visual identity around three practical elements: strobe alarm lights, a triggered sprinkler system, and a global shutter camera. Gaffer John Clarke programmed five Prolycht LED Fresnels — mounted behind art-department-cut glass diffusers — to fire in a fast-burst, slow-chase pattern, completing a full cycle in just under a second. Salas chose the Red V-Raptor XL@reddigitalcinema specifically to avoid the broken-frame artifacts a rolling shutter would produce when capturing frozen, backlit snow mid-strobe.

Read more at the link in bio.

#Cinematography #AmericanCinematographer

For the blizzard-bound hardware-store sequence in Ben Wheatley’s @mr_wheatley Normal , cinematographer Armando Salas, ASC @cinesalas built a distinct visual identity around three practical elements: strobe alarm lights, a triggered sprinkler system, and a global shutter camera. Gaffer John Clarke programmed five Prolycht LED Fresnels — mounted behind art-department-cut glass diffusers — to fire in a fast-burst, slow-chase pattern, completing a full cycle in just under a second. Salas chose the Red V-Raptor XL@reddigitalcinema specifically to avoid the broken-frame artifacts a rolling shutter would produce when capturing frozen, backlit snow mid-strobe.

Read more at the link in bio.

#Cinematography #AmericanCinematographer

For the blizzard-bound hardware-store sequence in Ben Wheatley’s @mr_wheatley Normal , cinematographer Armando Salas, ASC @cinesalas built a distinct visual identity around three practical elements: strobe alarm lights, a triggered sprinkler system, and a global shutter camera. Gaffer John Clarke programmed five Prolycht LED Fresnels — mounted behind art-department-cut glass diffusers — to fire in a fast-burst, slow-chase pattern, completing a full cycle in just under a second. Salas chose the Red V-Raptor XL@reddigitalcinema specifically to avoid the broken-frame artifacts a rolling shutter would produce when capturing frozen, backlit snow mid-strobe.

Read more at the link in bio.

#Cinematography #AmericanCinematographer

For the blizzard-bound hardware-store sequence in Ben Wheatley’s @mr_wheatley Normal , cinematographer Armando Salas, ASC @cinesalas built a distinct visual identity around three practical elements: strobe alarm lights, a triggered sprinkler system, and a global shutter camera. Gaffer John Clarke programmed five Prolycht LED Fresnels — mounted behind art-department-cut glass diffusers — to fire in a fast-burst, slow-chase pattern, completing a full cycle in just under a second. Salas chose the Red V-Raptor XL@reddigitalcinema specifically to avoid the broken-frame artifacts a rolling shutter would produce when capturing frozen, backlit snow mid-strobe.

Read more at the link in bio.

#Cinematography #AmericanCinematographer

For the blizzard-bound hardware-store sequence in Ben Wheatley’s @mr_wheatley Normal , cinematographer Armando Salas, ASC @cinesalas built a distinct visual identity around three practical elements: strobe alarm lights, a triggered sprinkler system, and a global shutter camera. Gaffer John Clarke programmed five Prolycht LED Fresnels — mounted behind art-department-cut glass diffusers — to fire in a fast-burst, slow-chase pattern, completing a full cycle in just under a second. Salas chose the Red V-Raptor XL@reddigitalcinema specifically to avoid the broken-frame artifacts a rolling shutter would produce when capturing frozen, backlit snow mid-strobe.

Read more at the link in bio.

#Cinematography #AmericanCinematographer

RED at KOBA 2026 | Booth C260 | Hall C

Come see the Cine-Broadcast workflows in action and see how cinematic imaging is shaping real-time production.

12–15 May | KOBA 2026 | COEX Convention & Exhibition Center | Booth C260 | Hall C

Africa hits different, the sights, the sounds, the people and colour. Grounded yet endless, where every direction feels full of possibility. Orienta, a short film directed by Miguel Blanco (@_miguelblanco_) with cinematography by Timothy Ridenour (@timmmytoes), follows a journey through the Sub-Saharan desert guided by instinct when the path isn’t clear.

Shot on RED's #VRAPTOR and Nikon ZR.

Africa hits different, the sights, the sounds, the people and colour. Grounded yet endless, where every direction feels full of possibility. Orienta, a short film directed by Miguel Blanco (@_miguelblanco_) with cinematography by Timothy Ridenour (@timmmytoes), follows a journey through the Sub-Saharan desert guided by instinct when the path isn’t clear.

Shot on RED's #VRAPTOR and Nikon ZR.

Africa hits different, the sights, the sounds, the people and colour. Grounded yet endless, where every direction feels full of possibility. Orienta, a short film directed by Miguel Blanco (@_miguelblanco_) with cinematography by Timothy Ridenour (@timmmytoes), follows a journey through the Sub-Saharan desert guided by instinct when the path isn’t clear.

Shot on RED's #VRAPTOR and Nikon ZR.

Africa hits different, the sights, the sounds, the people and colour. Grounded yet endless, where every direction feels full of possibility. Orienta, a short film directed by Miguel Blanco (@_miguelblanco_) with cinematography by Timothy Ridenour (@timmmytoes), follows a journey through the Sub-Saharan desert guided by instinct when the path isn’t clear.

Shot on RED's #VRAPTOR and Nikon ZR.

Africa hits different, the sights, the sounds, the people and colour. Grounded yet endless, where every direction feels full of possibility. Orienta, a short film directed by Miguel Blanco (@_miguelblanco_) with cinematography by Timothy Ridenour (@timmmytoes), follows a journey through the Sub-Saharan desert guided by instinct when the path isn’t clear.

Shot on RED's #VRAPTOR and Nikon ZR.

Africa hits different, the sights, the sounds, the people and colour. Grounded yet endless, where every direction feels full of possibility. Orienta, a short film directed by Miguel Blanco (@_miguelblanco_) with cinematography by Timothy Ridenour (@timmmytoes), follows a journey through the Sub-Saharan desert guided by instinct when the path isn’t clear.

Shot on RED's #VRAPTOR and Nikon ZR.

Africa hits different, the sights, the sounds, the people and colour. Grounded yet endless, where every direction feels full of possibility. Orienta, a short film directed by Miguel Blanco (@_miguelblanco_) with cinematography by Timothy Ridenour (@timmmytoes), follows a journey through the Sub-Saharan desert guided by instinct when the path isn’t clear.

Shot on RED's #VRAPTOR and Nikon ZR.

Africa hits different, the sights, the sounds, the people and colour. Grounded yet endless, where every direction feels full of possibility. Orienta, a short film directed by Miguel Blanco (@_miguelblanco_) with cinematography by Timothy Ridenour (@timmmytoes), follows a journey through the Sub-Saharan desert guided by instinct when the path isn’t clear.

Shot on RED's #VRAPTOR and Nikon ZR.

Africa hits different, the sights, the sounds, the people and colour. Grounded yet endless, where every direction feels full of possibility. Orienta, a short film directed by Miguel Blanco (@_miguelblanco_) with cinematography by Timothy Ridenour (@timmmytoes), follows a journey through the Sub-Saharan desert guided by instinct when the path isn’t clear.

Shot on RED's #VRAPTOR and Nikon ZR.

Panavision Petzval for young Deborah’s point of view flashbacks

@panavisionofficial @reddigitalcinema @hacks

(Paulina’s c-camera builds 👌)

Panavision Petzval for young Deborah’s point of view flashbacks

@panavisionofficial @reddigitalcinema @hacks

(Paulina’s c-camera builds 👌)

Panavision Petzval for young Deborah’s point of view flashbacks

@panavisionofficial @reddigitalcinema @hacks

(Paulina’s c-camera builds 👌)

Behind the scenes with Grace Eggleston (@graceeggleston), filming wildlife on location at one of Michigan’s major wetlands. Captured with the limited edition V-RAPTOR 8K S35 RHINO.

Behind the scenes with Grace Eggleston (@graceeggleston), filming wildlife on location at one of Michigan’s major wetlands. Captured with the limited edition V-RAPTOR 8K S35 RHINO.

Behind the scenes with Grace Eggleston (@graceeggleston), filming wildlife on location at one of Michigan’s major wetlands. Captured with the limited edition V-RAPTOR 8K S35 RHINO.

Behind the scenes with Grace Eggleston (@graceeggleston), filming wildlife on location at one of Michigan’s major wetlands. Captured with the limited edition V-RAPTOR 8K S35 RHINO.

Behind the scenes from Getsuya Kouro, the new Nippon TV series recently released in Japan. #ShotonRED by cinematographer Kenji Noguchi, JSC, using two RED V-RAPTOR [X] cameras, along with a Nikon ZR (@nikonjp) as Cam C and ZEISS (@zeisscameralenses) Supreme Prime lenses. #ShotonREDAsia

Behind the scenes from Getsuya Kouro, the new Nippon TV series recently released in Japan. #ShotonRED by cinematographer Kenji Noguchi, JSC, using two RED V-RAPTOR [X] cameras, along with a Nikon ZR (@nikonjp) as Cam C and ZEISS (@zeisscameralenses) Supreme Prime lenses. #ShotonREDAsia

Behind the scenes from Getsuya Kouro, the new Nippon TV series recently released in Japan. #ShotonRED by cinematographer Kenji Noguchi, JSC, using two RED V-RAPTOR [X] cameras, along with a Nikon ZR (@nikonjp) as Cam C and ZEISS (@zeisscameralenses) Supreme Prime lenses. #ShotonREDAsia

Behind the scenes from Getsuya Kouro, the new Nippon TV series recently released in Japan. #ShotonRED by cinematographer Kenji Noguchi, JSC, using two RED V-RAPTOR [X] cameras, along with a Nikon ZR (@nikonjp) as Cam C and ZEISS (@zeisscameralenses) Supreme Prime lenses. #ShotonREDAsia