Production
by PVC Staff
Saturday, May 31, 2008
Angelina and Lindsay battle over their favorite RED scopes!
standalone scopes vs. software scopes vs. built in scopes - What you need to know!
Let’s face it: if I didn’t start with a title like that, there’s no way you’d read a story about waveform monitors. They’re boring! They’re not creative! They’re all the same! They’re not sexy. They’re not RED.
Scopes are important if you’re doing real work that gets duplicated, broadcast or color corrected. They can be used “creatively.” They can help you do better work. Without them, all that other cool gear is worthless.
So WHY are scopes the “Rodney Dangerfield” of the production and post production world? Some of it is probably fear of not understanding them. Some is probably that they don’t really seem to DO anything other than cost a lot of money. Some is probably because they have a lot of unrealized potential.
Production • (3) Comments • Most recent comments by: stevesherrick, stevesherrick, George Kroonder, • Permalink
Thursday, May 15, 2008
On Artbeats.com: Article on Frame Rates
Over on Artbeats.com, we’ve written a treatise on frame rates.
Every month, we write a Tips N Tricks article for our friends at Artbeats.com. This month we’ve written a brain dump on where those funky frame rates came from, and issues to watch out for as you get assets from 3D artists, stock footage libraries, film composers, and even well-meaning camera or tape operators that have frame rates that might be just slightly off from what you expect - and how to correct them.
Click here to download a 212 KB PDF of “Frame Rate Follies” from Artbeats.com.
Fellow PVC writer Mark Christiansen also recently wrote a piece for Artbeats’ NAB 2008 Show Guide on creating ramping speed effects in After Effects; click here to download the 1.1 MB PDF. In a similar vein, we also wrote an article for Artbeats on using the same underlying technique to bend the time of a clip to match a soundtrack; click here to download the 2.3 MB PDF of it.
By the way, Artbeats has a monthly email newsletter which contains links to each of our articles for them as they are released, plus a link for registered users to download a free full-size clip every month. Click here to register.
more »Motion Graphics • Production • (0) Comments • • Permalink
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 • (13) Comments • Most recent comments by: Jason Chocianowski, Jendra Jarnagin, Adam Wilt, Michael Scott, Mike Burton, Mike Prevette, Mike Burton, 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 • (8) Comments • Most recent comments by: Adam Wilt, Hugo, Adam Wilt, Praxis, Adam Wilt, luis Bustamante, Stephen Murphy, Scott Gentry, • Permalink
