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HD for Indies

by Mike Curtis

Mike Curtis writes and runs HD for Indies, a consultancy and website dedicated to using affordable digital technology for independent filmmaking. Mike started HD for Indies after a 15 year digital media career making content for everything from cell phones to cinema screens for clients such as Ford, Dell, Compaq, etc.. As a consultant, he focuses on production and post production hardware, software, and workflows to achieve maximum results at a variety of budget levels....

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Nikon D90 vs Red’s Scarlet - Specdown!

Nikon D90 vs Red’s Scarlet - Specdown!

Does the Nikon D90 pose a threat to (the specs only of) Red's Scarlet?

By Mike Curtis | September 06, 2008

Nikon is about to ship the D90, a 12MP DSLR that shoots HD movies. Wait a minute, doesn't that sound a lot like Red's Scarlet?If you aren't familiar with the D90, check out my post on the neat little camera.And more importantly, what will this trend mean for the industry at large?Read on to see how the about-to-be-released Nikon D90 stacks up against the current specs for next year's Red Scarlet. Read More

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Nikon D90 - nice DSLR that also shoots HD video

Nikon D90 - nice DSLR that also shoots HD video

Nikon's new stills camera shoots nice 720p movies

By Mike Curtis | September 06, 2008

Nikon is about to ship their new DX format DSLR, the D90.So why should you care?Because it also shoots 720p movies. Yep, that's right - 1280x720, progressive frame, nice depth of field (roughly equivalent to Super35mm/Red One), 24 frame per second movies.With sound.How much? $1000 for the body, $1300 with an 18-105mm lens.Read on for the deets. Read More

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iSee4K - MUST HAVE iPhone/iPod Touch app for Red One users

iSee4K - MUST HAVE iPhone/iPod Touch app for Red One users

Perfect little app calculates DoF, FoV, frame rates, storage, etc.

By Mike Curtis | September 04, 2008

My buddy Paul Alvarado sent me a link to this one - it is a GREAT little app for iPhone/iPod Touch that is a MUST have for anybody working with a Red One camera that can have an iPhone/iPod Touch on set. It is called iSee4K, and it helps you figure out a bunch of the things you need to know both for the cinematography as well as data wrangling aspects of the Red One camera. If you ever saw my post on Red One Geekery: Real World Info on Redcode, you saw the handy charts that showed data rates, maximum frame rates, frame sizes, codecs, etc. It took several charts to contain all that info, there's lots of variables, and it is too much to keep in your head. So Edward Watkins has turned all that and more into a handy little iPhone App. Read on for the most excellent deets. Read More

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HEY! Apple releases ProRes for Windows

HEY! Apple releases ProRes for Windows

Free ProRes Decoder for both Mac & Windows

By Mike Curtis | August 29, 2008

Poking around looking for some information for a client on workflow, stumbled across this little bon mot - Apple has released a FREE ProRes codec for Mac & Windows - it is mentioned on this page towards the bottom, and there are links for the decoders included:ProRes QuickTime Decoder 1.0 for WindowsProRes QuickTime Decoder 1.0 for MacAnalysis follows after the jump. Read More

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Red One Geekery: Real World Info on Redcode

Red One Geekery: Real World Info on Redcode

Everything you wanted to know about shooting Redcode, but were afraid to ask - Part 1

By Mike Curtis | July 23, 2008

Shortly after I got my Red One camera, I went out to go play with it. I wanted to do some baseline testing - from my many talks with Graeme Nattress, Red's codec guru, I knew that Redcode was a variable bitrate codec. That means that the datarate can vary depending on the content of the scene. OK...so how MUCH can it vary? Quite a bit, I found out. Read on for this and other geekery... Read More

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Making Movies Now - bigger, sometimes better, definitely riskier

Why moviemaking is getting bigger, sometimes better, but definitely more dangerous

By Mike Curtis | June 24, 2008

I opened the LA Times today and the front of the Calendar section was dominated by a picture of Brad Pitt sprawled on a couch with the headline Sparking Curiosity with the subhead "The trailer for 'The Curious Case of Benjamin Button' is everything it should be" and talks about the buzz around the movie. The company where I've been working the last 3 months provided the cameras, recording system and workflow, same as was done for Zodiac (I mentioned this in Couple bits of awesomeness the other day).A fun read about how great the trailer looks to be.Reading the continuation on page E4, that dovetailed into a minor article entitiled "Indie biz needs more discipline" - which discusses the 99.9% chance of failure of a movie budgeted under $10M.Hmm...what does this imply? Read on. Read More

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Couple bits of awesomeness

Red Build 16 and Ben Buttons trailer

By Mike Curtis | June 18, 2008

Quick note on some things:a.) Busy, not dead. Waaaaaaaay busy.b.) The trailer is (finally) out for The Curious Case of Benjamin Button, which was shot digitally on the Viper, recorded to S.two recorders. I've been working with the vendor that provided the gear, it is nice to see what masters of the game (director David Fincher, DoP Claudio Miranda) can do with digital tools when they commit and know EXACTLY what they are doing.c.) Red Build 16 is imminent, and it is a Big Deal for those tracking Red. Months later than wanted/expected, but major new stuff in there. IF it does what Jannard and crew claim, I'd say the Red will have finally, fully arrived, fulfilling virtually all of the promised capabilities. (How soon till we can save curves on Red Alert and load into camera?) Read More

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The very, very serious problem with democratization of technology in moviemaking

LA Times article on tough times for indies

By Mike Curtis | May 17, 2008

Times are tough for indies right now - I just finished reading an LA Times article - Cloudy skies for Cannes indie market talking about how tough the market is for indie (as in, non-studio produced) content these days. And I think technology is largely to blame.Backing up, here's the evidence, as stated in the LA Times article:-the number of buyers for indie are are thinning:Not that long ago, the sellers of movies made outside the studio system knew that not only were there nearly a dozen forceful buyers competing for movies, but also that those distributors often were willing to roll the dice on less conventional fare. That's all changed in a hurry. Read More

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WOW. Reason to want to make movies

WOW. Reason to want to make movies

"The Fall" - most gorgeous trailer....ever?

By Mike Curtis | May 10, 2008

Check out this trailer for The Fall. If the imagery doesn't grab you at first (I saw posters on the street walking to work, and I literally stopped to gawk at the one sheet), how about "David Fincher and Spike Jonze Present." Directed by Tarsem, known for his music video work. Wow.How gorgeous is this? In the middle of a 60+ hour work week, I watched the trailer 3 times, with co-workers, dimming the lights, waiting for the 1080p to download, and standing enthralled.I took the time during lunch to scroll through, find 20 amazing stills in it, copy/paster to Photoshop and save'em out as JPEGs so I can have them rotate out as desktops every few minutes.It is THAT good.Plus, it looks like a good story, unlike some technically proficient, but plastic spastic blockbusters opening today. Which imagery do you think will stay with you, haunt your idle reveries, more?-mike Read More

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Panavision & Canon videos on “Demystifying Digital Camera Specifications”

7 part video series talks about how to understand how digital images are made and work

By Mike Curtis | May 07, 2008

John Galt (Panavision) and Larry Thorpe (Canon), two well respected industry veterans, gave along talk at the Hollywood Post Alliance about how to really understand what is going on in digital cameras. It went over so well they revised & expanded it and did another one at Panavision, entitled Demystifying Digital Camera Specifications. This is looooooong, but HIGHLY recommended if you want to really understand what is going on. As a Red owner, I couldn't help but notice that the press release mentioned something about "pixels aren't resolution," which is true, but clearly a response to the Red One's 4K resolution. I haven't had a chance to watch them all yet, so I can't fairly state whether there is an agenda at work (it would be somewhat fair to presume that Panavision and Canon cameras won't be looked on TOO unkindly), but these two guys are well known and respected, and have been doing this stuff for a long time. Chime in with comments about your take on it all - I'm prepping for a big client demo, no time to watch today...-mike Read More

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Top 5 Things at NAB ‘08

By Mike Curtis | April 22, 2008

1.) Red Scarlet/Red Epic - one for home, one for SERIOUS D-cinema work. Scarlet is easily summed up - "3K for $3K" - with 3K sensor that can shoot up to 120 fps for under three grand, when it ships in 2009 it will be a tough price point to beat. Red Epic, meanwhile, with better quality Redcode RAW, and 5K resolution at up to 100fps for only $40K, should be an indie filmmaker's new Must Have.2.) Codex Portable - record dual link HD-SDI or even RAW formats the latest cameras using 4:1 wavelet technology, on a breadbox sized package you can sling over your shoulder. Add the virtual file system on top of that, as well as the ability to transcode material in-the-box, you've got a helluva solution for a damned attractive price. Read More

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Red One News - Builds, Lenses, Accessories

Build 16 news, new lenses & details, new Pro Accessories

By Mike Curtis | April 14, 2008

...so besides Scarlet, Epic, and Red Ray, there was (Oh Yeah!) news for Red One too. They have some new lenses, accessories, and firmware builds coming for the Red One. I got hands on with the big honkin' 18-85mm zoom, and it is GOOD. I looked at the new 7" Pro LCD and I like it. Read on for the details that aren't on the website. Read More

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Red Ray - 2+ Hour 4K playback for under $1000…from a burnable DVD

Red Ray - 2+ Hour 4K playback for under $1000…from a burnable DVD

4K from Red cameras or Red Ray DVDs play back at 4K, 2K, 1080p, 720p, or SD resolutions

By Mike Curtis | April 14, 2008

On the show floor, I'll try to clean this up later, but here's the scoopage:EXECUTIVE SUMMARY:Playback device, 4K in, 4K, 2K, 1080p, 720p, or SD out from Red Disc, Red Express, or native R3D files from CFRED / RED RAYFavorite quote from Ted Schilowitz, Leader of the Revolution for Red:"We consider 1080p Blu-ray to be a stopgap solution. The future is way beyond 1080p."Read on below for all the nifty details: Read More

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Red Scarlet - 3K for $3K…at up to 120fps

Red Scarlet - 3K for $3K…at up to 120fps

....and sometimes 180 fps

By Mike Curtis | April 14, 2008

Again, I'm on the show floor and working fast, so here's the scoop on Red's new professional camera that is high end consumer priced:EXECUTIVE SUMMARY: 3K for $3K, 2/3" Mysterium X Sensor, 1-120 fps (180 fps burst mode), up to 100 MB/sec Redcode RAW & RGB recording to dual compact flash, 4.8" LCD, 8x T2.8 Red Zoom lens (fixed lens), full auto or manual shooting modes, HDMI, HD-SDI (4:2:2 likely), FW800, Still mode, WiFi control, compatible with many Red One accessories (as shown on show floor).RED / SCARLETHere's some of my own pictures of the prototype.Read on the all the gory details: Read More

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Red’s new Epic camera - 5K RAW, 100fps, $40K

Red’s new Epic camera - 5K RAW, 100fps, $40K

I thought he said "Red Effin'" - that woulda worked fine for me

By Mike Curtis | April 14, 2008

OK, I'm on the show floor and furiously typing this up, so this is quick, rough, but info-laden - EXECUTIVE SUMMARY: $40K, 5K, 1-100 fps, Super35mm coverage, up to 100MB/sec Redcode (yes, MB not Mb), FW800 & USB 2.0, Redcode RAW & RGB to RedFlash, dual link HD-SDI, 2 XLR, upgradeable sensor, body, boards & mount, 6 pound machined aluminum body, hybrid stainless steel mount, compatible with MOST but not all Red accessories. Ships "early 2009"RED / EPICRead on below for all the gory details. Read More

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Blogwad - press releases of interest for NAB 2008

Here's a bunch of PR material on things that sounded kewl

By Mike Curtis | April 13, 2008

So I'm digging through all 100+ NAB related emails, to figure out what is worth checking out this week. In no particular order, here is cut & paste PR copy of what caught my eye to check out. I'm not advocating anything in particular, other than just "this caught my eye."First item, goes without saying, is abusing my Exhibitor badge to be parked front and center Monday morning at Red's booth, I have a 10am interview with Ted, which will have given me enough time to see what's up in the booth to start drilling him on questions. OK, let the PR-speak commence - this is copy/paste, not my interpretation: Read More

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Long, AWESOME interview with James Cameron about shooting 3D

By Mike Curtis | April 13, 2008

EXCELLENT interview with James Cameron, all about shooting 3D, in Variety. Detailed, GOOD, and dovetails/contrasts nicely with my notes from the 3D panel at NAB I attended yesterday.James Cameron supercharges 3-D - Entertainment News, Technology News, Media - VarietyJohn August has a lengthy commentary as well where he calls James Cameron the Steve Jobs of 3D (and explains why he calls him that). Read More

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Mike’s Notes from Saturday’s Digital Cinema Summit

Panel on 3D moviemaking

By Mike Curtis | April 12, 2008

I got back in late into the 3D panel after taking care of some work on the show floor. Here's my raw, unfiltered, typos-and-all notes from the panel on 3D, that I jumped in on late, so missed a lot of names. Some really good info, especially about the importance of modulating and babysitting the convergence point cut to cut, and how that affects editorial, and what steps to take to make sure the 3D cut works.Howard Lutz - 3D - silver screens - manufacturing quality has affected display qualitysupply of 3D camera rigs at the moment is an issue-if there's 2 major films being done in the Hollywood area, is OK, the minute a 3rd is in production, not enough cameras-it has ramped up so fast, "Is it real or a fad?" It is real, there's a commitment from CG and live action, it would be good to see a better supply of stereoscopic camera rigs, as well as production and post tools-Dave from ??? on challenges of getting 3D from big to small screen-whether dimensionalists, shooters, or renderers, we end up with a left and right view, superimposed, that cause your eyes to converge in front/at/behind the screen-images that create binocular disparity, when done right is gorgeous, when done wrong is painful-fundamental disparity - focusing on screen 40 feet away, converging elsewhere. Sends confusing depth cues to brain. Convergence wins...except on television-and then, a formula on a slide, about left and right eye, separated by about 2 1/2 inches. Left eye crosses to right and vice versa to converge on the apparent distance to the image, which is different from the distance to the SCREEN-Adult's interocular distance - 2.5 inches, child is 2.0 inches-if you have a face behind screen, and bring it closer, your eyes expect more difference and "roundness" of the thing's info - is an issue on small screens-Jim Maynard at Dreamworks is working on fixing this issue in software automatically in his renders-it is the little d number - the apparent distance to object, as it compares to the big D, the distance to the actual screen-5 feet from screen, closest object can be 89%, furthest at 114-depth budget - how much can you go in front or behind of the screen - shown as a percentage of size of screen-you can make your eyes diverge if you try to run it too much, big to small screen-there's a bell curve of acceptance to "Fundamental Disparity" - the eyes' converging muscles and the eyes' focusing muscles sendign conflicting depth into the brain. a few percent of folks have sensitive eyes - at the other end, agile eyes can handle anything-if you look from dashboard in car to out the front, OK. But if you go from dash to rear view to out the front...takes time. Same thing happens with convergence in 3D - takes time if way different-Registration - moving left and right eye views horizontally to move the whole scene closer or further-Depth grading - adjusting explicity depth fo objects by shaping and moving individual objects or groups of objects towards or away from the viewer-perfect 3D - can't type that fast-this is dave from InThree-if you've got shots that are "at" the screen, can adjust to move it behind the screen - but your stuff that was almost at infinity in background is now beyond infinity, but causes eyes to diverge. So make darker or defocus to get it done-25% depth budget on a TV. If you re-register, if you up that range, you can re-pdeth grade-they tested stuff for 40 foot screen, 15 foot screen, 5 foot scren, showed it to folks. perferences when viewing ona 5 foot screen content that has been depth graded for:-5 foot screen - 14% had experienced eyes, 17% had inexperienced eyes15 foot - 66 and 4240 foot screen 20 and 41Samsung HDTVs are pre-built to do 3D.-gorgeous 3D on television should be graded for 15 foot screen seems to be the take-away.Linnie Elbert - subtitles in 3D. "What's the deal? Once you get into it, makes you throw up in no time."Polar Express had subtitles, had'em projected on a separate projector on the screen.most 3D content has been children's movies, are usually dubbed-Beowolf was to be subtitled, was only dubbed in 4 languages-started some tests, picked two methods to put the movie out - in 4 territories (Neitherlands, Japan, Luxembourg) - subtitles in 3D pulled out in front, action behind usually. Can't do it in projector, have to create them. Have to create a brand new master with subtitles, often 15 to 20 languages, hence 15-20 masters. Ugh, untenableAlso tried to put'em above the image - Beowolf was 2.35, so put in the 1.85 box and shoved it down. They tried it both ways. There's more action at bottom than top. A floor, or water, etc. More often, the top is at a vanishing point and is far away, less parallax between what you're reading and what you're trying to look at.if trying to read it, there's other content your eyes are trying to understand, is a conflict.-PUTTING THEM WITH A LOT OF HEAVY BLACK OUTLINE/SHADOW SEEMS TO LOOK BEST-John ??? worked on the post/editorial stuff on 3D.-identify challenges for 3D post-with an 11 week post for a 3D movie, that was a PROBLEM. "My advice to you is that if someone comes to youwith an 11 week schedule, run the other way."-the support of production editorial-in a 2D movie, you can evaluate the set cut to director's cut-but for 3D, is imperative to keep close, conform in 3D for the editor as he was cutting a song a day, had to show daily to have an accurate presentation of whether his cuts are working or not. On a 7 camera shoot, he's going through and editing one eye.-when conforming, just matching the creative cut to show in 3D was NOT ENOUGH. -cameras were on cranes, moving, etc. -the convergence points were all over the place-without convergence matching, was painful to watch-can't tell if the cut was OK, unless can see 3D, because the cut migth be OK, but the convergence might be off (a new variable to work with in editorial)-digitize left/right eye, conform, do a basic convergence balance pass-some beam splittter issues came up time to time, to make l/r comfy to watch-convergence issues for first pass, a balancing pass, the most important new thing(Hanna Montana) - Michael woudl cut, quick conform & convergence pass, then show it, make changes, etc.-by time got to a "latched" cut (Is there a locked cut anymore?), a new set of challenges.-the real work begins, a combination of doing the color correction, doing the real 3D convergence pass (not the quickie), and doing then in tandem - how they interacted with the 3D, gotta be playing with both to get it to work right-as editorial is continuing to make changes, those choices affect what the convergence/colorist stuff is working on -bought a new Quantel Pablo, new storage, all new gear, using development code, not even beta, all this brand new pipeline to do it, a new challenge-in the future, stronger support for being able to do 3D evaluations, but is a while off before it happens-the concept of working with conforming as you go, is something they'll have to be doing. Is not a good idea to try to make 3D evaluations in teh cutting room, the director/editor want to see the 3D really quickly, to see how the 3D is affected by cuts, and how it is working-is diffferent for every shoot--4 1/2 minute music video - can tailor the convergence, have it pop, work it/push it more. For a feature, with 90 minutes, can't work their eyes as hard. Can hit'em over the head for 4 minutes, but can't do it for 90 minutes. Tailor your convergence for what is appropriate for the material and the duration-graphics and titles - was it easy or hard? There is a learnign curve for the vfx/graphics houses, did some back and forth, supported as they could with title placememt etc., but on Missy Elliot 4.5 minute video, they had some floating graphics to get the hang of where to put the graphic in z space?Do we have people up to speed on 3D graphics? No, is a learning process-they built a 3D slate, as they started doing titles, "do it like the slate" that was doine in 3D - ironic that was how the standard become, Q: -If workign off a 20 foot screen, safe for most of the widest releases, or do need to compensate for each of the deliverables. A: if designed for 20 foot screen, will work on 5, but parallax doubles on 40 foot screen, triples on 60 foot, so that's bad. But you can't tell till you can see it. So they may need a 40 foot screen to test the footage. GOTTA EVALUATE with a 40 foot or bigger screen.Atttempted to do rendered in grpahics for some things - Benelux and Japan were the two territories - this is NOT a way to burn-in stuff, isn't feasible to do it with the turnaround available.On Hanna Montana Q: do you work on the ocular separation on camera, or it is fixed, how much is done set up in front, or how much later?A: interocular set on set as shot, the controller they have is convergence control. As part of storytelling, you're using/tailoring 3D. One thign to NOT have happen is to have convergence at 40 then 15 then 60 feet - is way hard on airs.Ramp up to 3D moments, is a convergence balance, not interocular. Vince Pace did static vs. dynamic convergence when shot. Somebody controlling convergence on SOME camera rigs, but not all cameras on all showsQ: -how do you monitor convergence on set?A: had basic dual projection feed, could do it on set, most guys in consoles, the guys that drive it, could do an A+B or a differential between left and right, will show the convergence error - that is how the operators did itQ: LaserLight engines - brightnesss - based on experience so far, how bright WOULD you want it?A: no answer yetWant to see 14 foot lamberts if they could. Hanna had 4.5 foot lamberts. Creatives wanted to push it further, went to limits of projectors. Mo is bettah.Q: Waht about dual vs. single projectors?A: dual projectors would take another hour - great for making more light, but HORRIBLE to keep them aligned. Keeping the geometry, focus (across time), and something else aligned, it'd be great, but those are all hard. Dual screen is A solution, but is it a long term solution? Dunno. Everyone is doing 2 color passes - one for 2D version, one for 3D version, and the 3D is dimmer, human eye can't adapt, gotta do it both ways. Is something is at 5, 10, or 14 foot lamberts, is REALLY expensive to grade one for each type fo projectorQ: Convergence changes with age- it changes over time from young to older - have found difference audience reaction based on age?A: Hard to say, as some older folks sya they've experienced about some issues young folks don't say. Probably an anecdotal thing. People NEW to 3D have a hard time locking in. Folks who've seen it repeatedly can lock pretty quickly even on some pretty bad systems. Speaker interested on what he calls "Settling time" based on that dashboard experiement - if making movie for older audience, will motion through Z space have to be more carefully, gradually, softly dealt with?Q: stereoscopic 3D - does it change the pace of storytelling?A: Overdoing 3D - can't do stacatto cutting? NOt really true. How to control convergence and set it appropriately for the action. For fight sequences, can cut fast, but CANNOT have convergence flying all over, because of the time to settle your eyes issue. Howard expected couldn't have any slam pans - but you can, it works, can break the "RULES" so long as pay attention to the convergence on the Z AxisWhen re-dimensionalized establshing shots, wanna look at different parts in scene - "savoring" the scene. 3D is unique and gorgeous for that. Peter O'Toole crossing the desert in 3D would be gorgeous. in the Matrix- slow bullets coming at you is gorgeous - can emphasize those storytelling elements in 3DHoward - we have found that the 3D cut is different for the 2D cut. With 3D, wanna linger on stuff, as the brain has a lot coming in - if in 2D, can be relatively boring in comparsion - don't want to savor/linger. Can't just pull out one eye of a 3D movei to make a 2D movie -might not be optimal? Still so much more to be done to figure it all out.Sessions start at 8:30am, reception across the hall...-mike out to DRINK!

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Mike on the scene at NAB

Checkin' it all out

By Mike Curtis | April 12, 2008

Hey all - just a quick note to let you know I'll be at the NAB show - today is Saturday, and I'm just sitting down at the Digital Cinema Summit to take notes on...whatever they are going to talk about next.I'll be bouncing between this and the Digital Tech Guru panels today/tomorrow, with maybe some DP panels as well - gotsta get me 5 minutes to see the schedules, work has been INSANELY busy this week (another post entirely).Monday morning first thing I have an interview with Ted Schilowitz in the Red booth, and with anticipation of Scarlett ("professional, handheld camera"), 4K displays, 4K projectors, 4K distribution system, and a new Red reel I've been seeing pieces of for a few months, should be a helluva show.I'll be abusing my access priviledges to get in bright and early...for your benefit.I'm also, through work, going to be spending some time with the Codex and S.two booths, they should both have some very interesting announcements, and other stuff as well of course. It'll be an interesting show with both Apple and Avid off the floor. I noticed Apple shipped Final Cut Server quietly last week, and Avid had some good announcements too.: )-mikeUPDATE - aaaaaaand then work intervened. I took some demo footage over to the Band Pro booth, and Randy Wedick and Michael Bravin gave me a quickie look-see at the new Sony F35 camera. It is the Genesis sensor (striped CCD) 35mm sized, with a PL mount, on what is otherwise an F23 body. Better brains behind it, so some image enhancements in the circuitry. More later.I also got a quickie looksee at the Angineux Rouge lens, I will HAFTA check me out that! Aimed at the Red camera crowd.-mike, yet again Read More

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Red “Mythbusting” Video

Red “Mythbusting” Video

Ted shows off how 4K footage can be dropped into a timeline for 2K offline editing

By Mike Curtis | April 11, 2008

RED / RED MythbustersTed Schilowitz sat down with Michael from Plaster City and did some mythbusting, to show that:1.) You can play back on a Mac straight from the footage from camera2.) You can drop that footage straight into Final Cut Pro3.) You can play it back in Final Cut Pro without transcoding, and4.) You can edit that footage, straight from cameraThey shot it with two cameras, and walk you through the whole thing in real time. A good demo to see how it really does.Caveats - you need a FAST machine - 8 core Mac Pro strongly recommended. You don't get much in the way of realtime performance - you can play and you can cut.BUT...it works! It is quick and easy if you need to cut stuff in a hurry AND have a fast box.Link at top of article takes you to page on Red's site that has small and large versions.-mike Read More

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