More Fun with RED

I just finished a four day shoot for solar energy company Sunpower where we used the RED for three days of location shooting and one day of green screen. More about the green screen later--here’s how I did all the live action shots.

moby gratis- film music

LA-based FCP & Avid editor and bungee jumper Shane Ross posted this tidbit on his Little Frog in High Def blog: moby has released nearly 80 tracks for free use in non-profit / noncommercial films and videos, and he’ll license them for use in for-profit works, too.

If you’re a moby fan (as I am), it’s worth signing up just to listen. The clips average about two minutes running time, and range from quiet and contemplative piano pieces to lounge to spaghetti-western themes with a mobyesque twist to driving electronica (and probably more; I’ve been sitting here the last fifteen minutes listening, and I’ve only auditioned ten tracks or so). Some tracks have variants, like differing length cuts, or versions without drums. It’s all genuine moby; and if moby’s good enough for the likes of Miami Vice, Memento, Minority Report, three of the Bourne films (so far), Buffy The Vampire Slayer, and The Sopranoes, he’s good enough for you (but then, I may be biased, grin)!

Thanks for the music, moby! Thanks for the heads-up, Shane!

Preparing FCP Sequences for Color

You start your grading and color correction using Final Cut Pro’s 3 Way Color Corrector.  You now want to hand off your sequence to Color for finishing.  In this tutorial, Andrew Balis of Ripple Training will show you the things you need to know in order to do this successfully

What I’ve learned about the RED in the last three days

Tomorrow I finish a project that has shot for three days already on the RED, build 16. Here’s what I’ve learned and discovered:

Color Correction Video Tutorial

Another in a series of color correction tutorials from the upcoming revised edition of “Color Correction for Video” coming out in December from Focal Press.

In this installment, I show you how to sample colors on the screen in Apple Color to get numeric readouts of specific pixels in your image. (These same methods can be used with Avid or FCP or Color Finesse in Premiere or After Effects.) Using these numeric readouts can assist you in making corrections, especially if you can sample something that should be white, black or some other neutral gray tone. Any neutral tone should have the same numeric readout across all three color channels. (They can be off by a little.)

The samples in Color will continuously update as you color correct, which is very helpful. So, for example, is you sample a black pixel from your image and it says that the red channel is .085, the green channel is .088 and the blue channel is .025, then that means that your blacks have either a deficiency of blue or too much yellow (the combination of even amounts of red and green). So you probably need to raise the set-up/pedestal/black level of your blue channel to remove the yellow cast in the blacks. This will actually help balance the overall level somewhat, especially if you can balance the whites/highlights/gain using the same method. Grays will either fall into place, or you can adjust your gammas/midtones “to taste” by eye.

The HVX-200 Strikes Again

A while back I wrote an article about a spec shoot I did promoting an as-yet unfunded motion picture project. For various reasons the project wasn’t finished, so I took it upon myself to cut the footage into a short piece for my reel. I mixed in some footage from a light drawing test that we did for the same project using a Canon DSLR.

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