Wednesday, October 29, 2008

Autodesk+RED Workflow Guide

Chris Meyer | 10/29- 09:56 AM

Autodesk release a white paper on using the RED One with Smoke, Inferno, Flame, Flint, and Lustre.

The RED One camera and its ability to capture large frame size, RAW-format files has certainly ignited the imagination of filmmakers and videographers. But its unusual file format and requirements has also created a lot of head-scratching among users trying to find the most efficient way to send RED footage through a normal production pipeline.

To this end, Autodesk just released a white paper that covers using RED One footage with their Smoke, Inferno, Flame, Flint, and Lustre systems. It covers shooting, lighting, color spaces, proxies, going from offline to online, audio, finishing and final output including suggested settings, as well as an appendix on RED-specific applications and where they fit into the workflow. In other words, this isn’t a brochure; it’s a mini-handbook for users that describes the current recommended practices in some detail.

You can download the white paper here. Here’s a thumbnail sketch of some of its suggestions:

Monday, October 27, 2008

More Fun with RED

Art Adams | 10/27- 07:34 PM

In which a four day corporate shoot for Sunpower goes exceedingly well

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.

Saturday, October 25, 2008

moby gratis- film music

Adam Wilt | 10/25- 04:04 PM

Free moby music for non-profit/noncommercial films and videos.

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!

Tuesday, October 21, 2008

Preparing FCP Sequences for Color

steve martin | 10/21- 12:03 PM

An instructional video on how to hand off files from FCP to 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

Monday, October 20, 2008

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

Art Adams | 10/20- 09:06 PM

My tips, direct from the set to you

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:

Monday, October 20, 2008

Color Correction Video Tutorial

Steve Hullfish | 10/20- 08:17 AM

Sampling colors in Apple’s Color

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.

Page 4 of 32 pages « First  <  2 3 4 5 6 >  Last »