Red for Imax & PBS

[ScottStender]

Hi all,

I have a project starting up in the next two weeks, shooting on two Red cameras with multiple output needs. Our main goal is to shoot the documentary for PBS HD broadcast release. They want 1080-60i masters. Our other big goal is to release this same 1-hr doc on Imax at the best possible quality. That will need to be shot at 24P in 4K for 65mm filmout.

So, I am currently planning on shooting the whole project at 24P 4K (except for timelapse) and editing the initial project on FCP (ProRes?), with a reconform for Scratch and a 24P filmout. I'm thinking then I can either use the ProRes version for broadcast, or take the 24P filmout and make both the 65mm Imax masters and the 1080i downconverts from that.

I guess this is kind of a first, going from Red to Imax, so I would like to hear what other pros think of this plan and am fully open to suggestions.

BTW, we will be shooting two cameras all over the world for 6-8 weeks with only a 4-person crew. It will be a huge logistical effort and I need to focus on quality and simplicity.

Digitally,
ScottStender

 

[Brent J. Craig]

We just finished doing the exact same kind of job - 2 Reds and shooting for Imax-sized screens. We travelled with 23x 30Kg cases, 84,000 Kilometers through 6 continents and 8 countries, 30 flights, 7 weeks.

Let me say that if you are shooting 'cinema style' with primes and dual-system sound, a 4 person crew will be challenging. We travelled with 6 people and usually had 1 or 2 more pitch in at each location. This seemed to be the absolute minimum we could have worked with - and the AD and Director were humping gear as well. Of course we were doing jib shots, car rigs, helicopter mounts, etc and working in very extreme conditions - 14,000 feet elevation, 7810 feet underground, world's driest desert. 100% humidity at 35 degrees C, you name it.

Your biggest challenge will be batteries. You can no longer check Lithium batteries as luggage on passenger planes. You can try, and often will get away with it, but you are endangering everyone on the plane and the fine is $250,000 USD when you get caught.

We ended up using the Swit lithiums that break into two parts. When broken up, each part is below the maximum lithium threshold and becomes just like a laptop or celphone battery - meaning you still can't check them but you can carry on as many as you want. We were worried about explaining this concept in third-world airports, but without exception every security checkpoint knew what they were and allowed us to carry them on no problem. When you use non-Red batteries, you lose the % remaining displays, but we decided this was better than having our batteries confiscated and not being able to shoot at all. I also carried a 4-pin XLR to red cable, as well as alligator clips in case we had to power from a car battery as a last resort. (Check the polarity!!!)

I'm not sure where you are based or where your support is coming from, but Sim Video (Toronto, Vancouver, L.A.) treated us very well. They are used to dealing with challenging, around the world shoots, and made our lives very easy and surprisingly affordable!

Good luck on your shoot. Reply here or PM me for more info/questions.

 

[Darren Orange]

Hey Scott,

I'd like to talk to you about your project more. In regards to Red, IMAX and Scratch. Please feel free to shoot me an e-mail at reactor88@r88s.com Thanks!

 

[ScottStender]

Hi Crewpix,

Thanks for all the info. We are looking in to the battery issue now, that was a great heads-up. Did you like the Swit's?

Also, I would like to know if you have tested any of your footage on the Imax yet? Which lab did you choose for film transfer?

Looks like we'll have a crew of 5 and a slimmer package than you did. Any recommendations on a good, compact zoom for the Red?

 

[Brent J. Craig]

The Swits are great, except they don't send voltage info to the Red so they tend to die unexpectedly. The Swit chargers travel well and work on any world voltage.

We will be projecting on Imax-size screens with 4K digital projectors. No film output (at this time).