<p>Both parts of Che were shot on it. District 9 was shot on it. ER is shot on it. The Red One is ver quickly becoming the digital camera of choice for respectable filmmakers everywhere. Even Ron Howard used it for the VFX shots in Angels & Demons. Director Steven Soderbergh has gone on record saying, “[T]his 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.”</p><p>Indeed the Red One’s many features are extensive and innovative in its design. In fact the Red One does not capture footage at standard or high definition, but has to downscale in order to adapt to such definitions, resulting in extremely high-quality footage regardless of high or standard definition. Shipping with a PL lens mount, the Red Digital Cinema Camera Company has also produced adapters for Nikon lenses, and Canon lenses adapters are reportedly available, with other third parties more than likely involved in adapters as well.</p><p>One goal of cinematographers everywhere, however, is to make digital look like true film, and thanks to its advanced Mysterium sensors, the Red One is capable of allowing for the same depth of field to be produced as would a 35 mm film camera. When digital becomes analogous to film, the purpose is essentially achieved. </p>