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The RED EPIC CAMERA now available! The RED EPIC is the most advanced camera in the world. The same camera used for the most recent The Pirates of the Carribean installment, the upcoming Spiderman re-boot, and Peter Jackson's epic take on The Hobbit is available for your next project! 5K Resolution @ 120 fps, or 2K Resolution @ 300 fps!

The RED ONE Mysterium X Sensor is now here! RED ONE Camera now upgraded to RED MX! The new sensor is native at 800 ASA / ISO and is amazing in low-light. The image even looks clean all the way up to 2000 ASA / ISO which is unheard of for any camera, film or digital! Already been shooting dozens of projects with the RED MX before most places in the world have even had a chance to look at one of these cameras, and now can't wait to see all the images that will be captured in the future with this, the latest and greatest in RED Camera technology! The RED ONE Mysterium X Sensor is now here!

JEREMY OSBERN:  DIRECTOR OF PHOTOGRAPHY / CINEMATOGRAPHER Jeremy Osbern first began his career as a Director / Director of Photography at the age of seventeen, shooting a documentary on the effects of smoking, a project that was picked up by The American Lung Association and shown in schools throughout the country. At the age of nineteen, Jeremy began his career as a commercial cinematographer when he was hired to shoot and direct a series of promo spots for MTV. In the years that followed, Jeremy has shot and lit numerous features, commercials, and music videos, and is experienced in both narrative and documentary settings. An Emmy Award-nominated Director of Photography, Jeremy has shot miles of 35mm and Super 16mm film, and is experienced with Arriflex / Arr, Ecclair, Aaton, Panavision, and Moviecam cameras. He's also rolled thousands of hours of high-end High Definition / HD footage using cameras like the Panasonic Varicam, the Sony F900 / Cinealta, and the Panasonic HDX series. Jeremy is comfortable maximizing images out of digital cameras such as the RED EPIC, RED ONE and ARRI ALEXA Digital Cinema Camera for features, commercials, and music videos, and has complete RED EPIC and RED ONE Camera Packages available for use on productions around the world. With the RED EPIC, projects can now be shot at up to 120 frames per second at 5K Resolution, or up to 300 frames per second at 2K Resolution! With the RED ONE, projects can be shot at 4K, 3K, and 2K resolutions - far above HD - and with speeds of up to 120 frames per second at 2K Resolution. Jeremy Osbern attended the Sundance Film Festival as Director of Photography on the feature film The Only Good Indian, starring Wes Studi, J. Kenneth Campbell, and Winter Fox Frank. He most regularly works in the Kansas City and Los Angeles / LA markets, but is available for travel worldwide. For booking and rates, please call one of the numbers on the contact page. Thank you for stopping by.

LOMO ANAMORPHIC LENSES AVAILABLE NOW! With the introduction of the RED Digital Cinema Cameras, there has a been a resurgence of Anamorphic cinematography in the Indie Film world. Anamorphic lens and projection systems were initially invented in the 1950s to create a different look for movies when played in the theater, as a way to combat falling ticket sales for theaters that were losing audiences to television. Anamorphics squeezed the image onto the full frame of celluloid to maximize resolution, and were then stretched back during projection to create the extra wide image that we now associate with Epic stories told through film. As a part of the new-found love for extra widescreen cinema, Russian-made Anamorphic lenses from the LOMO company have become highly sought-after items. Multiple sets are available for use on features, commercials, music videos, and documentary projects. Two different versions of the lenses are available: Square Front and Round Front Anamorphics. Square Front LOMO Lenses have the anamorphic element built onto the front of the lens. This particular style of lens is utilitzed to create those classic blue lens flares that are seen in many music videos and movies (such as the recent Star Trek reboot). Square front lenses can be found in the focal lengths of 22mm, 30mm, 35mm, 50mm, 75mm and 80mm (the marking on each lens would read F=22, F=30, F=35, F=50, F=75, and F=80). Round Front LOMO Lenses have the anamorphic element built inside the lens housing and creates a smoother image when wracking focus. Round front lenses can be found in focal lengths of 35mm, 50mm, 75mm, 100mm, 150mm, 200mm, 300mm, and 500mm (the marking on each lens would read F=35, F=50, F=75, F=100, F=150, F=200, F=300 and F=500). On the Round Fronts, the longer lenses typically are the 75mm version with some sort of extender / doubler built into the lens. There are also plenty of anamorphic zooms as well. One of the older versions is called a LOMO Foton Zoom (focal range 37-140 is a common one). There are also newer zooms that have an anamorphic element that is attached to the back of the lens. More info can be found by checking out: http://lomoanamorphicdp.com http://blog.jeremyosbern.com Round Front and Square Front LOMO Anamorphic Lenses

Thoughts on the THE RED ONE DIGITAL CINEMA CAMERA - by Jeremy Osbern I've been using the RED ONE since April 2008. I've long been a hold out, believing that film would remain the best source for shooting beautiful images, but the RED has definitely won me over. I've worked Super 16mm and 35mm film for years, and love the organic feel of celluloid, but there is definitely something to be said about knowing "what you see is what you get" while shooting. Here's what RED has to say about the RED ONE ( text taken from www.RED.com ): "The RED ONE™ body – designed for flexibility and functionality. Weighing in at 10 lbs, this is a streamlined package specifically designed to maximize your shooting options. Matched with a 35mm PL lens mount, it allows you to take advantage of the world’s finest optics. Modular and upgradeable, the RED ONE™ camera is a future-proof acquisition system you can build upon. RED ONE™’s modular design means you can upgrade with us as we add new features and accessories, as well as benefitting from performance improvements with each new free firmware upgrade. "PIXEL SHIFTING & UPREZZING NOT SPOKEN HERE "Typical high-end HD camcorders have 2.1M pixel sensors and record with 3:1:1 color sub-sampled video at up to 30fps. RED offers the Mysterium ™ Super 35mm cine sized (24.4×13.7mm) sensor, which provides 4K (up to 30 fps), 3K (up to 60 fps) and 2K (up to 120 fps) capture, and all this with wide dynamic range and color space in 12 bit native RAW. At 4K, that’s more than 5 times the amount of information available every second and a vastly superior recording quality. In addition, you get the same breathtaking Depth of Field and selective focus as found in film cameras using equivalent 35mm P/L mount lenses. Mysterium ™ boasts greater than 66db Dynamic Range thanks to its large 29 sq. micron pixels. And 12,065,000 pixels deliver resolution that can only be called Ultra High Definition. "RED ONE IS A MODULAR DESIGN "Shoot lightweight EFP style (body around 10 lbs., in rugged aluminum alloy) or load it up to shoot a feature film. Options include RED-RAIL™ mounting accessories that “grow” the camera body. Configure for tripod, crane or long lens applications. High-resolution RED LCD and EVF monitors come equipped with advanced tools for framing, exposure and focus. The RED ONE™ body and RED-RAIL components provide numerous mounting points to allow hundreds of optional RED and third party accessories… some that haven’t even been dreamed of yet. Choose between the convenience and durability of recording directly to Compact Flash, in-camera, or outputting signal to RED FLASH DRIVE or RED DRIVE (RAID) for even longer recording options."

GO TO THE CONTACT PAGE AND ASK ABOUT RENTING A RED ONE CAMERA PACKAGE FOR YOUR NEXT PROJECT!

Thoughts on TIMELAPSE / LANDSCAPE PHOTOGRAPHY - by Jeremy Osbern I'm a huge fan of working in the fast paced world of film production. A set is like a second home to me, and it's thrilling to plan out your day, working on time to get all the shots that are needed to tell a story. But every now and then a project will come along that requires a fair amount of Timelapse photography, and I welcome the challenge that comes with this type of cinematography as well. Timelapse is the process of capturing subtle events that are happening in the world around you - a thunderstorm, or a moving train; the clouds passing over the mountains, or a plants in the wind. The world is ever changing, but sometimes we are moving too fast to see it. With Timelapse photography, one can sit back and watch the world go by as you capture every detail. It's a lot of fun to work on timelapse projects both in the city, or out in the middle of no where. It's a chance to slow down and reflect while practicing your craft. How many professions can say that? Timelapse photography, in essence, is the art of taking one frame at a time, over a long stretch of time. The most basic example of Timelapse photography would be to imagine a sunset: using a film camera with an intervalometer, or a higher end digital camera - like the RED ONE - you capture one frame every second over the course of an hour long sunset. If we're recording at a playback speed of 24 frames per second, the final sunset will playback for us over the course of 2 and a half minutes. There are a lot of uses of Timelapse photography, both as transitions or editing devices in feature-length narratives, or as a visual impact in a 30-second spot.