The Compleat Idiot’s Guide to RED Post on a Budget

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.

The Debut: Wii Spec Spot, shot on RED, now online at PVC

Wii Spec Spot, 1k version

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.

Random RED Revelations

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.

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.

Schneider IR Filter Tests

Art Adams with the 486 filter on a RED ONE

Last week, Art Adams, Tim Blackmore, Ted Allen, and I tested the Schneider 486 UV/IR cut filter on a RED ONE and on a Sony PMW-EX1. Tim wore his famous “doesn’t look anything like that in real life” “black” shirt, and we lit him with IR-rich incandescent sources.

RED on location: Art Adams shoots a spec spot

Saturday, 3:33pm: crew assembles at Chater Camera to pick up the bulk of the gear and load it into Simon Sommerfeld‘s truck.

We arrive on location at 4:00pm. The shoot occurs at the elegant Craftsman-style house of Craig and Diana, an unsuspecting Oakland couple.

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