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(Page 1 of 4 pages for this article 1 2 3 > Last ») Filed under: Cameras •Post Production •Production •Training • The RED Camera and Green ScreenWhat you need to know before you learn the hard way
After working in this business a while (this year was 21 for me) I find that I don’t worry about venturing into the unknown. And three weeks ago green screen with the RED was certainly an unknown for me.
It’s been a tough sell getting the RED camera on paid jobs. Up until recently every job I’ve used it on has been unpaid, either shooting freebee spots for the California “No on Prop 8” campaign or the spec Wii spot I shot back in April for my reel. But last month I finally got it on a real gig: a five day project for solar energy mega-company Sunpower. I haven’t had many problems at all with the RED, and I had no fear taking it on location for three days. The one area of concern, though, was the day-and-a-half of green screen material we were to shoot for a Flash web site. I hadn’t shot green screen on the RED, and the only information I had at the time as to how well green screen worked with the RED was anecdotal: some of it good, and some of it very, very bad. Fortunately we built in some test time while pre-lighting the stage, and in this article I’m going to show you what I found. Before I start, though, a word about methodology. I wanted to retain the accuracy of the images all the way from output via RedAlert through to the web, and I think I’ve done a reasonable job. All images were output as 16-bit DPX files. The color channel separations were handled by Photoshop CS3’s “split channel” command. The enlargements are pixel-for-pixel blowups of 4k RED footage, which means that instead of zooming into the footage I merely captured a 619-pixel slice of each 4k image without doing any resizing. (619 pixels is our standard image width for article pictures here at PVC.) The only resized images are the wide shots, which are full-frame reductions. And I used as little compression as possible when converting the images from DPX to JPEG for the web. First, let’s sit around the fire and share anecdotes about the RED and green screen…
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The Best of Stunning Good LooksA directory of my best articles, sorted by topic.
This entry is a guide to my best articles, sorted by topic. Enjoy! |
How to get the “24p” look for your live-switched multicam shootA contracted article, sponsored by Datavideo Corporation.
Our friends at Datavideo recently asked me to write an article called How to get the “24p” look for your live-switched multicam shoot. The article covers many factors… |
ASSIMILATE Announces Breakthrough 48 FPS Playback of RAW RED EPIC Stereo StreamsIn SCRATCH and SCRATCH Lab
ASSIMILATE, Inc today announced that SCRATCH® and SCRATCH Lab® version 6.1 have achieved never-before-seen performance levels in the playback of RED EPIC Stereo content. SCRATCH Lab now provides… |
Q and A with Bunim/Murray’s Mark Raudonis about their recent Avid switchIf you haven’t heard they have moved from FCP7 to Media Composer Back in January news broke that reality television producers Bunim/Murray were switching their post-production facilities from Final Cut Pro to Avid Media Composer. This probably didn’t come as a great shock to anyone who follows post-production as the release of Final Cut Pro X had left many people (especially those… |
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