So... how do I do it?

[Gunleik Groven]

The problem is that people lock into a DPX file with less than full DR available in the RAW file. If you do that, you will NEVER get it back.

Stuff that you thought was clipped is actually still in the RAW file. Find it before committing to a transcode.

Jim

This is very true. We did an a/b diff-matte test when deciding on VFX workflows between EXR and DPX, and the difference was amazing.

It IS however possible to keep the DR in the DPX, even though you will lose precission.

The "Stay RAW/16-bit linear/EXR" for online advice is a good one too, if the people handling the files have the right software and knowledge.
You need to get the info out in float from the Rocket, though to take full advantge of that. And the software itself needs to work in "true" float, if not you get a lot of info is easily capped away in the "red room" or whatever the meta-stage is called.

Often, a well developed DPX @ redlogfilm will have better practical value - as it is known - when people are in a rush and projects needs to get finnished.

If you are an all-red house: RAW is a no-brainer.

[Stu Mannion]

Hi Brad,

The best book I've found on lighting is:

http://www.amazon.com/Reflections-Tw.../dp/0935578161

It taught me a lot.

[Sergio Perez]

Red has been a revolution for this industry, no doubt about it. What we are seeing in the high end world with the introduction of Alexa, F65, even the F3 and in another level Vdslr's comes because of the "Red Effect". Unfortunately for me, I've benefited from Red in an "indirect" way: I've purchased a 6500 dollar 1/2" camera with 10bit SDI out + a cf recorder to a 10bit 4:2:2 codec, and a Full Frame DSLR with a set of 4 primes at 1.4 and 2 constant 2.8 zooms. Total price of everything was about 16K. With a budget of 20K for camera equipment, that was what I realistically could afford . Would I've loved to go RED, absolutely. As a follower of RED since the beginning of Reduser, I've always dreamt of owning a Red Camera. Redraw, 4k, and now HDRx and +100fps... I use a lot of slowmotion in my work, and this is one of the features I want most from this camera... However, an Epic should cost even beyond 30K for a working unit with CF recording and SSD recording, and of course Redrocket for my 2.8 Octo Macpro from 2008. This is just too much, way beyond affordable at least for me. I can see this been a game changer for the medium to large production companies, but for the indie filmmaker and the small production house, however, we can still only dream of having a Red System. Anyway, we down here are still benefiting for all your great work, albeit in an indirect way.

Thanks, Jim Jannard and Red Team for pushing the whole industry forward. I sincerely hope, however, that you can someday really make "that" camera, the RED camera that would truly open the gate of Raw for independents to own it. If you gave us that camera, with Raw, high frames per second, interchangeable lenses, film like resolution, at an EX3 price range, RED would create another type of revolution- an artistic revolution, of fantastic content and audiovisual creations made from artists that in today's world just can't afford to have the tools to express their talent- yes, everyone can purchase a DSLR, but its, again, a big compromise. Yes, content is king, no doubt about it. A true talent can always work around technical limitations, but that's the key word again: "work around". Red Team, give us a car that can compete on the straights as well as on the turns. Make it fully manual and with a weaker chassis, no driving aids or fancy electronics, we don't care, just make it so that we can actually be racing in all tracks vs any other racing car with a chance to win. As a racing fan, you should understand this analogy :)

Once again, congratulations to Red and what they have accomplished in only 5 years of existence. I'm definitely a fan and will keep following this amazing story. Hope to someday be part of the owner's club!

[gbalaji]

Thanks for great post Jim.

I've a question regarding softwares like FilmMaster, Pablo, Baselight etc., using SDK to access R3D, They are unable to access metadata changes done in RedCineX which creates RMD file from one light grade done for Offline Dailies. Current working feature film '180' (Tamil /Telugu) being graded in Film Master, which is not able to use DRX feature to bring back highlights whatever it can. Anything done in future on SDK to have full functionality of RedCine X & Storm.

This post is to understand how SDK works for managing true RedCode Raw workflow till the end of DCP / Film Out.

By the By thanks for great work being done in last 3 years to revolutionize digital cinema as well as one to one user forum interaction which no company does.

Keep rocking Red!

[Humberto Rivera]

Jim, “Good Stuff”, “Good Advice”, staying native R3D as long as possible, or never leave “it-at-all” till the very end, when ready to make prints or adapt to whatever format is required for distribution. Complete your Movie in “R3D”.

Humberto Rivera

[Brad Allen]

Hi Brad,

The best book I've found on lighting is:

http://www.amazon.com/Reflections-Tw.../dp/0935578161

It taught me a lot.

Thanks so much stu :)

[Steve Freebairn]

it has been a pleasure to support both John on Spiderman and Darius on Pirates in their very beautiful transition to shooting RED. Freehill Productions has been working hard to make "hourlies" possible

[Christopher Barrett]

I couldn't agree more with The Jannard! As I was transitioning from stills to motion, I knew I had to maintain the same level of image quality if I was going to satisfy my clients and my self. Having worked for years with German glass and a 60 MP digital back on my still shoots, I knew immediately after shooting video with my Canon that it wasn't going to work for me. I downloaded RCX and that clip shot over London... I was hooked. The malleability of the files, the dynamic range... here was image quality from a motion camera that easily matched my $40k digital back. Oh man... and then... then came RC2/RG2. Damn good stuff. I know Epic is going to blow me away with HDRx, but really... I'm so pleased with the R1 that I'm happy to wait until they get them rolling out the door.

I'm shooting my first narrative short in a couple weeks (so looking forward to applying 20 years lighting experience to a great project) and going to Reducation a couple weeks after that. I think May is going to be a huge learning experience... PSYCHED!!!

The Red is awesome. Thank you Jim & Co.

[Tim Whitcomb]

Indeed, these are all excellent points about PICTURE when shooting RED... but please, please, please, remember SOUND is half the picture and dedicate equal time and budget. Hire a pro and your RED images
will look even better. :)

[Russell Fogle]

JIM I'd like to seriously propose that RED Studios offers a "Masters of Lighting" course. Same thing as Reducation but a lighting only course held by some of the best in the business. RED cameras & monitors would be on hand to see the results of the hands on workshops but the emphasis is all lighting techniques & education. Also so that you don't have 50 people from greatly varying levels of experience, I'd propose that Stu's book recommendation be required to have been fully read prior to arriving at the course. This would set a much more even starting point for everyone in the course.

I took Reducation in Vegas last year. After being a RED owner / operator for 3 years I thought that I knew it pretty well. I was wrong, Reducation taught me so much more. The ability to work with and ask many questions of the instructors / high end users such as Michaeal Cioni, Steve Freebairn, Ted, Mark, etc. was worth the it alone.