Cameras
by PVC Staff
Monday, May 12, 2008
Two Compleat Idiots Discuss RED Post
On exposure, grading, free vs. paid-for tools, NDs, and the “revolution”
Art and Adam discuss the aftermath of the Wii spec spot and Art’s venture into RED post…
more »Cameras • Post Production • Production • (11) Comments • Most recent comments by: Art Adams, davhud, Adam Wilt, Dustin Cross, Jeff, Adam Wilt, Rob, Stephen Webb, Graham Futerfas, Rob, • Permalink
Monday, May 12, 2008
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
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.
more »Cameras • Editing • Post Production • Production • (11) Comments • Most recent comments by: Adam Wilt, Michael Scott, Mike Burton, Mike Prevette, Mike Burton, Mike Prevette, Mike Prevette, Mike Prevette, Mike Prevette, Mike Prevette, • Permalink
Saturday, May 10, 2008
The Debut: Wii Spec Spot, shot on RED, now online at PVC
Here it is, finally finished. Phew! Now I know why I’m not in post production. I’ll write a blog entry on my stupid post mistakes later; for now, enjoy!
Details that may be interesting to the reader:
Shot 4k 2:1
Edited in 2k on Final Cut Pro
Redcode 36
Color correction applied to RedLog-exported footage from RedCine, using Colorista
Zeiss Ultra Primes, mostly at T2
Schneider True-Cut IR filter used on every shot except for the TV (16mm Ultra Prime saw some off-angle cyan vignetting)
All shots daylight- or 4500k-balanced (the TV had to be shot under a daylight balance, for proper color, so I shot everything else daylight for consistency) except for the ceiling shot, which was done at 3200k to keep the light bulbs from going too warm
There’s one shot that was done on a Lensbaby. See if you can pick it out.
More soon.
more »Cameras • Lighting • Production • (6) Comments • Most recent comments by: Mako, Luc Meisel, sam, Allan, sam, david winters, • Permalink
Friday, May 09, 2008
Random RED Revelations
Stuff we learned during testing and Art’s spec spot shoot
Tim Blackmore helps John Chater tweak back-focus on a RED ONE
The more we work with RED ONEs, the more we learn about what they do and how to work with them, thus the following grab-bag of observations and experiences.
more »Cameras • Production • (4) Comments • Most recent comments by: Adam Wilt, luis Bustamante, Stephen Murphy, Scott Gentry, • Permalink
Wednesday, May 07, 2008
More RED Res Testing: The Mystery(ium) Resolved
A new chart shows what this camera (and several lenses) can really do.
I obtained a new, 4K resolution test chart at NAB, and aimed RED ONEs running build 15 version 2.2.5 at it using four different lenses: a 50mm Super Speed, a 50mm Ultra Prime, a 18-50mm RED zoom, and a 24-290mm Optimo. Cutting to the chase: I’m pleased to report that I see detail extinction at about 3.2K, confirming the numbers RED and others have claimed.
more »Cameras • Hardware • (9) Comments • Most recent comments by: Andrew Matoga, Bruce Allen, Adam Wilt, Bruce Allen, Bruce Allen, Adam Wilt, Luc Meisel, Tony J, Art Adams, • Permalink
Friday, May 02, 2008
My first RED shoot: The training wheels come off!
Okay, I have to admit it: I now like this camera more than I thought I would.
more »Cameras • Lighting • Production • (2) Comments • Most recent comments by: Luc Meisel, Ian Hylands, • Permalink
