David, if you get the time, could you explain exactly what is being done with the footage after it's shot - in terms of backing up, processing dailies, color correcting, archiving, etc. And what type of flimout are you guys planning?
Those shots looks fantastic David! Can't wait to see more.
According to PlasterCity, this is our workflow for now:
1. R3D 4K source files are downloaded from RedDrives (and CF Cards) on set and double-backed up to two Raid5 FireWire 800 drives
2. R3D drives are sent nightly to PlasterCITY where they are backed up again to LTO3 and chased with an LTO logging data-base
3. The Rec709 2048x1024 color meta-data imbedded in the QT camera-generated clips is loaded into Final Cut Pro at 1920x1080sF
4. Audio is automatically synched up to dailies so all dailies have synch sound
5. 2:40 matting is applied to the clips and windowburns with source name and timecode are supered for 4K DI matchback
6. ProRes 1080sF media is processed out overnight and saved to the the source media drive for delivery to editorial (processing time is 5:1)
7. DVDs are downconverted from the ProRes 1080sF media and sent to set
Just a few questions. How are the RED drives holding up? If using the RED EVF what are your comments on it's use? And just out of curiosity what is your sound set up? Thanks again for sharing, love hearing about this real world production experience.
We're recording sound separately plus going into the camera, using a smart slate to show the timecode from the sound recorder (don't know if it is DAT or hard drive sound recording.)
I'm not operating on this one, but when I do look at the viewfinder... well, I'm not all that impressed with the RED EVF, but then, I haven't used a color viewfinder in any HD cameras that I have ever liked, I almost prefer the older, sharper b&w CRT ones. So it's not necessarily a knock against the RED version of a EVF. But in general, I prefer the RED LCD over the EVF image.
I would be concerned about shooting large portions of a RED movie on the road with only the EVF image to evaluate anything. I'd probably try and use an onboard Panasonic HD monitor instead or have a portable HD monitor to look at now & then. But the RED LCD image is pretty good, the only thing I don't like about it is the limited angle of view, which can be annoying when operating when you can't keep your head at the same viewing angle during a camera move.
I have only seen two EVFs, but the first one I looked through, I thought, "really? everybody thinks this is the most amazing thing they have ever seen?". The second one I saw I was blown away, looked 300% better. I don't know if it's the set up, adjsutments or what, but the two were night and day different.well, I'm not all that impressed with the RED EVF
David this looks like it's going to be a masterpiece. Thank you so much for all your time and effort posting this stuff.
One quick thing regarding on set shore power. Since the Red's AC power transformer is so large, I just take it one step further and tie it to a Battery backup/powerfilter (ups) designed for computers. It's about the size of a normal dolly block and allows me to use AC with the bonus of keeping the camera live during a kickout or having to move locations.
I've even been using it on some location shoots and just leave it strapped to my cart, so that I never have to power down the camera. It's has actually worked very well and gives me a little more security when I know the blocking is going to take a while. Plus it also filters the power going to the transformer for extra protection.
|« Previous Thread | Next Thread »|