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Black Panther costume illustrator Phillip Boutte Jr on sketching for the box office smash

Black Panther costume illustrator Phillip Boutte Jr on sketching for the box office smash

Phillip Boutte Jr. is part of the team behind the tribal, yet tech, costumes we see in box office smash  Black Panther. Boutte drew illustrations and collaborated with costume designer Ruth Carter to create the garments worn by heroes and villains alike in the fictional East African nation of Wakanda. Those include warrior outfits, the adornment of the Wakandian elders, their allies, the Jabari tribesmen and Black Panther’s superhero costume.

Boutte is no stranger to the drawing board. He’s worked on the complete Hunger Games franchise, Star TrekX-MenGuardians of the Galaxy, the TV series Agents of S.H.I.E.L.D.Altered Carbon and the results of his work will next be seen in the Oprah Winfrey/Reese Witherspoon film, A Wrinkle in Time. He’s also working on the upcoming Captain Marvel.

Here he talks to Mandy News about his career so far and everything Black Panther.

What was your vision for the costumes of Wakanda?
That was with my good buddy, Ruth Carter, who’s amazing. We started on the project together. She’s done a lot of projects. She worked with Spike Lee for 15 years. So her main focus was the nerd part of it. I was looking at it like, “the comic book is this…”

Her main focus was, “now that we know what these things look like, let’s try to infuse them with African culture so that it means something.” So if there are bees on the costumes, she wanted to [explore] a specific tribe and try to figure out what that symbolises. Does it symbolise beauty? Does it symbolise strength, power, marriage, death?

So we started to research all these tribes and it was really great. It was a project where every day I was surrounded by these huge boards in the office. There was a map of Wakanda and nothing but boards of different African tribes and who they are; their names and how they make their stuff. That really helped.

We also started to look at more modern things; Afrofuturism, Afropunk, trying to figure out the hipper, more contemporary version. What I continued to bring to the table is that Wakanda, to me, is more like Timbuktu. If you know the story of Timbuktu, the king there had all the gold. He was super rich. Europe was always trying to raid TImbuktu but it’s situated in a place that’s super hot. The desert is super hot so you would just die trying to get there.

Timbuktu also had a strong military so if you did get there, you’d probably be overwhelmed by them. So to me that’s what Wakanda is, if it were never touched by European influence, if it were allowed to prosper. So we built out from there.

It’s like saying what would Africa be like if it were never touched by European influence or if it were never raided or if the world didn’t take all their resources and leave them with nothing. What happens if Africans have access to complex textiles? Then maybe they have their culture. So someone has scarification but then someone has also launched some cool jacket that has pieces cut out of it so you can see the scars on their torso. It was that type of deal. Let’s have fun with it and see that vision of Wakanda. What if they have all their resources and still have their culture? That was really exciting to me.

Your drawing for Shuri in Black Panther remained true in the film except your drawings made her just a little bit more warrior-like, with face paint. What was the process of changing her into a camera-ready Black Panther nerd heroine?
The main goal was to make her understated. She’s younger and she needs to be fun. Ruth kept saying “I don’t want her to look overly sexualised. I don’t want her to look older. I want her to be young but smart and powerful.”

When I saw it on screen, I was like, “She’s perfect!” The actress Letitia Wright was perfect because she exudes this playfulness and strength. There are complex scenes that are brought forth in the film and things that we all talk about that we need to know but she also does it in a way that feels like a fringe, where it feels approachable. It doesn’t feel as heavy as some of the other characters but she is also this brilliant brain that is coming up with all of these things. She’s just super smart so her clothing reflects that. She might wear black but then a bright orange underneath it, something really fun.

I think my illustration is a lot more colourful than what ended up there but I think that was Ruth playing the concept of wanting one big pop-up colour or something that was fun and then she understated everything else to balance it out. 

Your credits are amazing, Black Panther, Altered Carbon (the TV show) and A Wrinkle in Time the same year. Please give your thoughts on this much success. 
I always put it into perspective in that it is all relative to the fact that I am able to, luckily, work for a lot of different costume designers. I tell the students that I work with that you have to work hard and you have to put your best foot forward and do the work but you also have to get along with people. I think one of my strong suits is that I am a people person. I know how to talk to people and be professional but I also enjoy people. 

At work, one of the stronger features I have is not getting hired but getting re-hired. I have worked for so many different designers, which is why I am able to work on so many different projects and conceptually be able to grow and build my portfolio. I am also able to get re-hired by those same designers. 

In retrospect, I know I work a lot more than some of the other illustrators because they work on other projects and switch in and out of costume but I’ve been primarily costume the past, almost, 11 years. In that time I’ve built a repertoire of some of the top costume designers that I work for and there are so many of them. Also, because I’ve built up that rapport and trust, I am able to come in and conceptually help them in a way that they need. 

The projects are so fast now that the designer is not going to be able to design everything so they bring us in to flesh out a general idea. We’re collaborating with them. We’re designing on a daily basis but it does allow me to work on stuff and it also has helped me to be the big nerd that I am and know these projects really well. I read [comics] so it’s really fun for me to take a stab at them. 

For those who don’t know, please explain the work of a costume concept artist or illustrator? 
I always think of it as the costume illustrator, in collaboration with the costume designer, being the first strike in the war — we’re the first impression that the costume designer is able to present to the director and producer of what their general idea is. 

On my first day, I read the script or an outline or whatever and then talk to the costume designer. The costume designer has normally prepared these things on a mood board, which is a big board where they print out pictures from Pinterest, Google or a research book. They are separated by character. For character one, they will have their name and then all these pictures will give you a general impression of who that person is or who we think they are. If they are an eloquent dandy, there’ll be tons of pictures of dandies in hats and neckties, depending on the time period. It may be a woman in the fifties so there will pictures from the Macy’s catalogue of that time. 

From there I work a 10-hour day minimum and I am drawing on my computer and trying to figure stuff out. I build up a body of the character and then, with the costume designer, try to figure out how to dress them. So it’s a very back and forth effort. 

How does one take on Hollywood when they have this ambition? 
My job is very specifically a niche job. I think it’s character design for sure so a lot costumers are interested in working in it since what I’ve learned is character design is costume design. It’s a pipeline into figuring out who people are, why they do what they do. 

So if you want to do this, you have to be very interested in people. You have to study anatomy. You have to study fashion, clothing and people when you are walking around. I am constantly looking at people — why they wear what they wear and why they made that choice. 

You have to be inquisitive that way and I think, have basic knowledge of clothing. I went in not knowing any of this. I just knew I like drawing people and costume and character. So the more detailed you can get with figuring out, for example, in this period, the seams on the shoulder were in a certain place or the pockets were shaped a certain way…Once you get past all that you have to join the Costume Designers Guild and that was my entryway into working with costume designers. 

Is that a Catch-22?
I have a lot of friends and colleagues that I work with and in, sitting on the board, because it allows you to work but also, as an illustrator, when you are freelance, freelancing can be difficult. Everybody kind of understands that regardless of what profession. At least with the ‘Guild,’ there is a certain amount of protection so you don’t have to worry about people not respecting the work you do or trying to pay you less than what you are worth. There are things set in to protect you. I am really pro-union, pro-labour. That is something that has been hugely beneficial to my career as an artist. 

It’s Hollywood though, so it is very competitive. 
It is but I always try to tell people, I’ve been in the industry since I was three. I was an actor from three to sixteen or seventeen. Once you’re inside you can see what a small bubble it is and it can seem very intimidating from the outside. It seems so magical. But it’s like everything else. It’s networking. It’s meeting people. If you have general direction, I tell everyone to focus specifically on what you want to do. 

If you want to be an actor, go out and film your scenes, don’t wait for someone to put you in something. You have phones and stuff, film a scene and for artists it’s the same thing. If you want to work on superhero movies, draw a superhero. Go and translate them. If you want to work for Marvel someday then you should be drawing characters, painting them out, figuring out likenesses of actors and then trying to translate those materials in the way you would see them in the Marvel universe. 

If you want to do it, you have to put forth the effort to show specifically that you can do these things. People are just drawn to that. If you put out any effort, you are going to get something back. If you put out negative effort you get negative effort back. You put out positive effort, you get positive effort back. If you focus yourself and you put something positive out, you can’t NOT get it back. It just doesn’t work that way. 

If you want to get into the industry, the best thing to do is put yourself out there. You want to do costumes, come join the guild, show your portfolio. If you’re not ready to do that, build up your portfolio but it is approachable.  

If you want to learn more about the artists behind the film watch “Groundbreakers: Superheroes Behind the Mask.” The short, original film is available here.


Oscar-nominated Chris Overton shares how he made short film The Silent Child using

Oscar-nominated Chris Overton shares how he made short film The Silent Child using

Chris Overton started his career as an actor working on TV and film projects with directors such as Joel Schumacher (Phone Booth, House of Cards) and Oscar winner Roman Polanski (The Pianist, Chinatown) as well as being part of the main cast of BAFTA-winning film Pride. Now he has been Oscar-nominated for short film The Silent Child which he used to help crew. Here Chris talks to Mandy News about his path to enjoying Oscar nomination and how Mandy came in handy.

Please tell us a little bit about yourself and how you got into the industry.
My name is Chris Overton and I’m and actor and a director. I’ve just directed a short film which has just been nominated for an Oscar, which is crazy. I’ve been in the industry since I was eight years old as an actor. When I was 20, I set up a company called Slick Showreels. Myself and Danny Ormerod run it. That developed into Slick Films, which did The Silent Child. I’ve always been in the industry from a very young age.

Was it something that you studied at any point? How did that come about?
In school we had to make a little film for media when I was about 13 or 14, and I was absolutely fascinated by it. I remember watching the editing process on a Pinnacle 8. It was incredible. I remember lying to my mum and saying we had to have a video camera for our project at school, so for my birthday I got a Sony video camera.

It was a way of keeping out of trouble. Instead of causing trouble, we would make films on the weekends. I would rally all my mates up and not let them go home for dinner when they were supposed to. Right from a young age we were making little films, little documentaries, all sorts of different projects.

When did you make the transition from being an actor to directing? It sounds like it was already in you from a very young age.
It was. I actually always loved acting more than anything. I really enjoyed doing that, but I’ve always enjoyed the other side of it from a very young age as well. I was very fortunate to work with directors like Roman Polanski, Joel Schumacher, Matthew Warchus.

I had seen them work from an acting point of view and I had been fascinated by how they did it. I’ve been lucky enough to take on board what they do and how they approach directing actors. It feels like my acting has been training to be a director.

The transition really started when I started Slick. We do showreels for actors, singers, dancers and performers. I was very much still an actor, directing showreel scenes and a couple of corporate videos. Me and Danny Ormerod, the co-owner of Slick, would work together on nearly everything.

The Silent Child came up and it was an amazing script. I just said, “We have to make this.” We did. It’s actually my first official film, although I’ve done little directing bits here and there. The Silent Child is my first ever film.

That’s fantastic. Could you tell us a little bit more about The Silent Child and how that came about?
Rachel, the writer and actress in it, is my fiancé. She has been campaigning for deaf awareness for well over a decade. Her dad lived the last two years of his life profoundly deaf. He went deaf overnight when she was 12 and passed away when she was 14. From that moment, she learned sign language and really got involved in the deaf community. She saw the struggles that they faced, especially deaf children. That really touched her heart, from her own experience.

We got together and she said she had an idea for a film. She told me the idea and I told her she had to write it. She showed me the first draft, and I was like “Oh my god.” We did a research documentary, that was called Deaf Not Stupid. We went full on and made The Silent Child.

Throughout that process, has just been so amazing, because it’s the only place that we could turn to. We essentially had no money to work with, we did have a budget but it was all crowdfunded – we didn’t get any help from film councils or anything like that, so it was really tight.

It was especially hard because Maisie Sly, the lead, was five years old at the time and profoundly deaf. Child licensing is really difficult, to have a child on set for long hours, so it really extended the shoot. Obviously, time is money, and it came to a point where we were missing pockets of crew. In the end, we didn’t even have a costume designer or set design, because we just couldn’t afford it. People had to double up on jobs.

I remember calling a guy called Bryn Williams. I just saw his photo – I don’t really trust anyone or would hire anyone without a photo, to be honest. He had this cheeky little face and he had just done one job before. I just thought I’d give him a call because I really liked his application. I asked if he wanted to come down and do the shoot and he said yes. Bryn now works constantly for us as a shoot editor at Slick Showreels, and will do all our other projects. Our cinematographer, Ali Farahani, is just an absolute genius and we found him on here. We found him quite a few years ago, so he’s been working for us quite a long time.

The opportunities board really helped our production. It was a big part of finding crew. That’s a tool that you can post a job that is an opportunity, as opposed to a financial opportunity. It’s nice that there’s that to offer, because there are projects out there that have real heart and a strong script, but don’t have the resources to do that. That was so helpful for our project.

We found certain people through that, just by telling them the story. It almost gives us the opportunity to pitch. We got our sound recordist from there, Papercut Media are on and they did our beautiful drone shots. In terms of finding crew, it was a saviour, to be honest. It’s an amazing platform, and if anyone’s ever in that position, I would highly recommend it.

The Silent Child had a strong message and we were trying to do something with the film. Without being too political, we’re trying to get sign language in all schools across the globe. When people got the opportunity to read the script, it was up to them if they then wanted to be a part of it. It gave us a platform to pitch, and I think that’s amazing.

Getting an amount of people to work on a project like what you were doing for free, is the script the reason that they get involved when there’s no budget?
I think so, and people bind to people. I took the time to call all these people and have a chat with them on the phone to tell them the idea and what we were doing. It’s very hard to believe in something when it’s words coming out of someone’s mouth. I always bind to people. Me and Danny have always believed that it’s not all about talent. Obviously, that’s exceptionally important, but it’s also about personality, if you can work with people and if they fit in.

We always say we try to find people like they are at the Apple store. You go into the Apple store and they’re a certain type of person, that’s what we try and look for. That suits your project, sometimes you have a different script and you might look for a certain type of person.

With regards to the actual production and the shoot, how long did you prep for the shoot and how long did you shoot for?
A big part of it was fundraising, so we took about 9 months to fundraise. It was on Indiegogo. The budget that we were aiming for was £10,000. We just got slightly over that, and then we forgot that Indiegogo take commission, Paypal take commission, and then there’s credit card payment. So we actually ended up with just under £10,000. That was really tough.

We did 10 production days, which is a long time for a short film, but because of the child licensing, it had to be. We couldn’t do those long hours. Also, when you’re not really paying crew what you should be, it’s hard to expect them to do 16 or 17 hour days, you just can’t do that. We tried to be really fair and look after people and make it a shoot that was enjoyable. It was a very gruelling shoot, but at the same time we really tried to look after people as well.

It sounds like everyone coming together on a project like that really helps see it over the line.
We had this feeling on set that we were making something special. Maisie is a little girl who is actually profoundly deaf. It’s so funny, she just ruled the set. All these adults were just waiting for her to sit in her place and do what she needed to do. It was a really funny experience.

Could you tell us a little bit about your working relationship with the producer and writer throughout the making of the film?
We’re very lucky because we have a very good working relationship. I can’t really say much more than that. It’s been very full on for two years. It’s just such an exciting journey and such a team effort by everyone involved. Everybody thought we were making something special, so it was a real team effort.

How did the Oscar nomination come through? Tell us a little bit about that moment.
There was a live stream. We were told to film ourselves. I thought, I couldn’t bear to film the reaction. Lots of news channels have picked that up now, so we’re really glad we did film it because it went our way. We just thought, the worse that can happen is that we delete the video. It’ll be embarrassing for us and no one else.

We had Maisie and her family over, the cinematographer, and Rachel. We are all sitting there and watching this live stream. There were a few categories announced before. Time just seemed to stop still when they said, “Here are the nominees for Live Action Short Film.”

We worked so hard for two years. It’s been the most amazing journey and we’ve all reflected on it. We’ve always said, we’ve done so well anyway, we’re proud to just be shortlisted and down to the last 10. Whatever happens, you just think, in about five seconds everything we’ve tried to work for could go one way or the other.

It was a really weird moment. It just stopped and went very slow. They read out three other films before us: DeKalb Elementary, The Eleven O’Clock, My Nephew Emmett. On the video, you can see my eyes flick down. Then they said The Silent Child. It was the most mental moment. It was crazy. I couldn’t put it into words but it was relief, I think.

Obviously, fingers crossed for you. It’s fantastic to be nominated. After this project, what is next on the horizon for you and your team?
There are a few things. We have some really good guys we found on Mandy. Although the showreels are low-level film making, we’ve had so many guys come our way and join our team. We’re always on the hunt for new cinematographers. They can collaborate and work with new directors. We’ve built a really good relationship with some of the ones that we’ve found. If they have a story they want to tell, we want to make that film.

Louis Russell is a Mandy member. He’s a really good guy on our team. He’s developing a script and Slick wants to make that. We want to support all our team in making their projects. That’s for Slick Films.

For me as a director, for Rachel as a writer and for the Slick team, we feel The Silent Child has legs to be something longer. Rachel is developing the screenplay for that at the moment. We don’t want to rush it because this is so special. At the moment, there’s a lot of pressure to have a script ready in time for the Oscars. You can rush something out and make the money, but it just wouldn’t be the same, so we want to take our time with it and do it in the right way. We feel like this story could be a feature or a drama or something bigger.

That’s fantastic. What advice do you have for up-and-coming actors and directors, people who really want to get involved in the industry and follow in the footsteps of people like yourself?
It’s so cliché and so obvious, but work really, really hard. I honestly think if you work really hard and you’re consistent in what you do, and you stick to it and just go for it, it will pay itself. Just put in the hard work.

The best people we’ve worked with are there to get the best out of themselves. They’re not necessarily doing it for the money at this stage in their career. It depends what stage you’re at in your career. I like Paddy Considine’s saying: “One for the money, two for the showreel.” That’s a really good saying because there are those projects out there.

For a lot of people that got involved and gave their time for nothing for The Silent Child, it now is going to pay dividends. It’s going to help them get their next job. At the time, although it might not seem like it offers a lot, a lot of people believed in that and gave their time for nothing. In the end, I think the rewards are great.

I would say, don’t be scared if you believe in a project. Don’t be scared to commit to something and give it your all. It’s not always about the money.

When and how did you hear about Mandy? How did you come to be a part of the Mandy community?
It used to be Film & TV Pro and Casting Call Pro. We needed crew for our showreels. As the company grew, we had a demand for more crew and more actors, so we used Casting Call Pro to find some actors. We’re actors ourselves so we knew a lot anyway, but we still needed certain specific types and things.

We really didn’t know that many crew members, so we put an advert out looking for crew members on Film & TV Pro (now Mandy Film and TV). We just put adverts out for editors and cinematographers, and we had interviews. To be honest, we used to put personality before talent. 

I don’t know of any other resource like it. It’s just an amazing resource. The new design is so easy to navigate around when you’re shortlisting people, and you can message them back. It’s so easy to use, it’s great.

– Source:



Kessler Digital Jog Control for Wireless Focus with Second Shooter Plus

Kessler Digital Jog Control for Wireless Focus with Second Shooter Plus

If you are already using Kessler’s motion control gear, such as the Second Shooter Plus Kit, you may sometimes want to manually adjust your focus axis for certain shots. The Kessler Digital Jog Control is the solution.

The Kessler Digital Jog Control is basically a remote follow focus control. It’s designed to work seamlessly with your existing Kessler gear, namely the Second Shooter Plus kit and the Cineslider.

Adding a Second Camera

Working with the Second Shooter kit can up your game when working with just a small crew. The system works similar to the One Man Crew Director system by Redrock Micro or the Edelkrone Slider Plus with attached Target Module. With these systems you can easily add a second camera to your setup which keeps your subject in focus while moving back and forth smoothly.

While the track, tilt and pan axis can be programmed to cater for your needs in the given shot, the focus axis is a different thing. If you’re shooting an interview with a relatively fixed subject, focus won’t be an issue but if you’re setting up a shot with lots of movement in it (think sports or a moving subject in a scene) focus becomes an issue.

Kessler Digital Jog Control

With the Kessler Digital Jog Control you can seperate the focus axis from the automated and programmed setup. The unit connects via wi-fi to the control unit of the Second Shooter (Plusversion only). Once the Kessler Digital Jog Control is connected, you can control one of the F.I.Z (focus, iris or zoom) axes manually, enabling a more creative workflow. Watch the official intro video below:


The unit itself offers a sturdy built quality. The Jog controller has a built-in battery and you can attach a MagPak battery for extended runtime. All you need to get this up and running is a Kessler Slider Plus, a CineDrive F.I.Z. motor V3 and an adapter cable. Note: When using the Kessler Digital Jog Control with the Second Shooter Plus, you can’t use the Digital Control Center by Kessler since the Second Shooter Plus controller needs to be set to wireless.

Of course you can use this setup for your shoulder rig, too. Just mount the Second Shooter Plus with FIZ motor and adapter cable on your shoulder mount rig and have your assistant pull focus so you can prioritize on composition and story.

You also can use the Jog Controller with the Kessler CineDrive but only as a fly-by-wire add-on.

The Competition

The Kessler Digital Jog Control might be a great addition if you’re already using the Kessler ecosystem. Otherwise there are quite a few universal options to choose from. Namely the Tilta Nucleus-M ($1200) or Nucleus-N ($399) systems or more expensive models such as the cmotion cPRO.

The Kessler Digital Jog Control only works with Kessler gear but it works seamlessly with it so if you’re a Kessler user already, this is for you. It retails for $799.95 and can be purchased from Kessler directly.

SOURCE: Cinema5



RED is pleased to announce that the release version of our new image processing pipeline (IPP2) is available for immediate download. IPP2 offers a completely overhauled workflow experience, from image capture through post production. IPP2 enhancements include:

  • Better management of challenging colors
  • Smoother highlight roll-off
  • Improved shadow detail
  • More accurate mid-tone hues
  • An improved demosaicing algorithm to achieve higher detail at the same pixel resolution
  • Simpler and more intuitive workflow
  • A workflow designed for HDR from the ground up
  • Industry-standard naming
  • Standardized color space and gamma


RED cameras with the HELIUM 8K S35 and MONSTRO 8K VV sensor can now monitor and control the new image pipeline in-camera, while all other camera owners will benefit from the new image pipeline in post through the latest REDCINE-X PRO upgrade. Individuals who prefer RED’s original color science workflow have the option to toggle between IPP2 and the legacy workflow both in-camera as well as in REDCINE-X PRO.

Visit RED’s Downloads page to get the latest DSMC2 camera firmware and REDCINE-X PRO software to take advantage of IPP2. For more information about all of the updates included in IPP2, please reference the IPP2: Image Pipeline StagesISO Recalibration for HELIUM, and REDWideGamutRGB and Log3G10 white papers.

Watch the latest RED TECH videos below to learn more about how you can seamlessly adopt RED’s updated image processing pipeline.



Today RED announced a new cinematic Full Frame sensor for WEAPON cameras, MONSTRO™ 8K VVMONSTRO is an evolutionary step beyond the RED DRAGON 8K VV sensor with improvements in image quality, including dynamic range and shadow detail.

This new camera and sensor combination, WEAPON 8K VV, offers Full Frame lens coverage, captures 8K full format motion at up to 60 fps, produces ultra-detailed 35.4 megapixel stills, and delivers incredibly fast data speeds of up to 300 MB/s. Like all of RED’s DSMC2 cameras, WEAPON shoots simultaneous REDCODE RAWand Apple ProRes or Avid DNxHD/HR recording and adheres to RED’s dedication to OBSOLESCENCEOBSOLETE—a core operating principle that allows current RED owners to upgrade their technology as innovations are unveiled as well as move between camera systems without having to purchase all new gear.

“RED’s internal sensor program continues to push the boundaries of pixel design and MONSTRO is the materialization of our relentless pursuit to make the absolute best image sensors on the planet,” says Jarred Land, President of RED Digital Cinema. “The Full Frame 8K VV MONSTRO provides unprecedented dynamic range and breathtaking color accuracy with full support for our IPP2 pipeline.”

The new WEAPON is available to purchase in the RED Store, starting from $79,500 for the camera BRAIN as well as a sensor upgrade option for carbon fiber WEAPON customers. MONSTRO 8K VV replaces the current REDDRAGON 8K VV sensor in RED’s lineup, and customers that had previously placed an order for a RED DRAGON8K VV sensor will be offered this new sensor beginning today.

RED has also announced a comprehensive service offering for WEAPON carbon fiber camera owners called REDARMOR-W. RED ARMOR-W offers enhanced and extended protection beyond basic RED ARMOR, and also includes one sensor swap each year.

“‘Good’ has never been ‘good enough’ for RED,” says Land. “We put ourselves in the shoes of our customers and see how we can improve how we can support them. RED ARMOR-W builds upon the foundation of our original extended warranty program and includes giving customers the ability to move between sensors based upon their shooting needs.”

Additionally, RED’s enhanced image processing pipeline (IPP2) is now available in-camera for all cameras with HELIUM and MONSTRO sensors through today’s v7.0 release firmware update. IPP2 offers a completely overhauled workflow experience, featuring enhancements such as smoother highlight roll-off, better management of challenging colors, an improved demosaicing algorithm, and more.