The Compleat Idiot’s Guide to RED Post on a Budget
Written by a complete post idiot, these RED tips may make your life slightly easier
By Art Adams | May 12, 2008
This is by no means a definitive manual on how to post RED footage. Rather, this is how I managed to work with R3D footage while creating a spec spot using the RED. Your mileage may vary. I expect to be flamed repeatedly regarding my handling of this shoot's post process, but from the ashes I hope to extract some knowledge as to how to do it all better next time.
We did not record any sound on the shoot, so that part of the post process is not addressed. Yay!
For behind-the-scenes action, see Adam Wilt's post on the shoot itself.
(1) SHOOT. COPY. TEST. REPEAT.
We shot using RedCode 36, which records more data per second than RedCode 24. Either one can be used with the RED drive; only RedCode 24 can be used with the CF card due to the slower write speed.
Adam Wilt acted as DAS (digital acquisition supervisor) during the shoot, and as such he:
-Occasionally checked focus and exposure by pulling the RED drive and checking the R3D files directly on the drive. (This was much faster than copying the files over and then checking them. Files were copied during meal breaks or time-consuming lighting setups.)
-Made multiple copies of the data, both for safety reasons and to ensure that the director and I both walked away with copies of the footage to work with on Firewire drives. Additional copies went different directions as backups.
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