RED to deliver masterclass on integrating cinema cameras into live sports workflows

RED London Masterclass: Broadcast Pipeline vs. RAW Retention

A live demonstration set for July 29 at the RED Showroom in London will address a core workflow conflict: introducing a cinematic depth-of-field and bokeh into live sports without disrupting the existing broadcast signal chain. The session, led by a specialist in cinematic live integration, will focus on RED’s Broadcast R3D pipeline. This dedicated color pipeline is designed to deliver broadcast-ready signals while maintaining access to the full RAW data for post-event grading—a key metric for productions weighing instant deliverability against archival quality.

The practical curriculum targets two distinct professional tiers. Creative teams will be shown techniques for depth-of-field racking and managing the bokeh effect under live pressure. Technical and engineering teams will get a walkthrough on the RCP shading controls and the multi-matrix function for isolating and adjusting specific color regions—a critical tool for matching cinema camera outputs to broadcast cameras under mixed lighting conditions.

Fujifilm GF19-35mmT3.5 PZ OIS WR: Optical Specifications

The announcement of the FUJINON GF19-35mmT3.5 PZ OIS WR fills the wide end of Fujifilm’s GF cinema zoom line for the large-format GFX system. Key tolerances: a constant T3.5 aperture across the 19-35mm range, built-in optical image stabilization, and weather resistance. Its exterior dimensions are identical to the existing GF32-90mmT3.5 PZ OIS WR, allowing for shared accessories and standardized zoom/focus motor operation between the two lenses. The lens is slated for availability on July 23, 2026, at a manufacturer’s suggested retail price of $5,699 USD.

Workflow Implications and What to Monitor

These two developments address different pressure points in production pipelines. RED’s event is fundamentally about signal integration—how to get a cinema camera’s output to play nice with a live broadcast switcher’s colorimetry and latency requirements without a bulky LUT box or converter in-line. The success metric will be measured in frame delay and signal stability.

The Fujifilm lens is a hardware solution for cinematic coverage on a large-format sensor, prioritizing optical consistency and a silent, parfocal power zoom for narrative live applications. For professionals, the test will be its parfocal accuracy across the entire zoom throw and the stability of its T3.5 transmission under rapid focal length changes.

Monitor RED’s post-event documentation for specifics on the Broadcast R3D pipeline’s IRE tolerances and latency specs. For the Fujinon, independent lens tests will need to verify the claimed OIS effectiveness and chromatic aberration control at the wide end.