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Red One Camera Rental

If you are looking for a RED One Camera you have found the right place.

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Therefore for the latest in RED One camera knowledge, the lowest rates and the guarantee of true customer service, RED One Rentals should be your #1 choice. We promise to get you beautiful images at a low price.

Competitive Rates - Unsurpassed Expertise - True Passion

The RED ONE Ultra High Definition Camera
The RED ONE camera system is a cutting edge, digital cine camera with the quality of 35mm film and convenience of pure digital. RED delivers unmatched image quality with no recording system limitations.

RED shoots natively at 4,096 x 2,304 pixels which is over 27 times the resolution of standard definition with RECODE RAW data rates that are very manageable. This enables almost infinite possibilities in post production.

Testimonial
"This is the camera I've been waiting for my whole career: jaw-dropping imagery recorded onboard a camera light enough to hold with one hand. ...RED is going to change everything."

- Academy Award winning Director, Steven Soderbergh

Director and Cinematographer of Ocean's Eleven, Traffic and Solaris



Seeing Is Believing

Conventional wisdom said it couldn’t be done, starting from scratch to build an affordable motion picture camera with a true 4K Super 35 image sensor, and a new compression scheme to somehow make all that data manageable. It would never have been possible without the tremendous passion, determination and enthusiasm of a man named Jim Jannard.
Jannard, a billionaire as a result of his success with designer sunglass and sports apparel company Oakley, definitely has the chops as a businessman. However, it’s probably his hobbies, more than his business acumen, that inspired the RED Digital Cinema project. He’s long been an avid photographer, and also has a keen interest in cinematography. He’s said to have amassed a working collection of top gear in just about every professional film and digital format, both motion picture and still. Yet, it seems, he never found the one camera that could serve all his needs, and this yearning was the genesis (no Panavision pun intended) for the RED camera.
While some asked "Why," Jannard asked, "Why not?" Why not come up with a digital cinema camera that shoots in the kind of resolution and functionality he likes to work in for stills? Movies, after all, are just a collection of still images strung together, so why not figure out how to tap the RAW output for motion photography, just as digital still photographers had been doing for many years? The benefits of working in RAW are many, and I believe a familiarity with these techniques is key to understanding how to get the most out of RED. James Mathers