Patrick O'Mara
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- Joined
- Oct 10, 2007
- Messages
- 10
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#101 and I just returned from a month in Vancouver shooting 10 spots for Mattel's best girl Barbie. We shot nearly 1 Terabyte of 4K, 3K and 2K at frame rates ranging from 30 to 120 fps; shutter angles of 180 to 45; sync sound, green screen, water, talent, animals . . . you name it. We used all my lenses from the Innovision Probe II, Zeiss Standard primes, Angenieux 25-250 HR, 100 Macro, even an 8 - 63 Angenieux for some of the 2K 120 fps shots. Everything was shot on Build 15 2.2.5 on Hard drives with more than 125 Roll changes.
ZERO dropped frames, ZERO down time for the Camera, ZERO interruptions of production time. The system worked flawlessly!
The Director, Agency, Client and Production were thrilled with the images they saw on set and even more pleased with the final result. The integration of the camera into our workflow was seamless. Except for the incredibly crisp "Video Assist" images, everyone would have thought we were on a 35mm film shoot.
I was at the final telecine today in L.A. at SSI and the editor (not know for his enthusiasm or compliments) said this was the best stuff we have ever given him to work with. Scott, our long time colorist, was extremely pleased with the files. He said the green screen work was so clean . . . "Helen Keller could key these shots."
Our workflow on set was very efficient.My DAS used RedCine on my MacPro 8 Core with internal RAID to copy, check, scale and transcode the footage. RedCine never crashed, never balked, never slowed once. We are delivering in NTSC SD format so it was necessary to scale the shots to 720 x 486 and transcode to Uncompressed 10 bit Quicktime files to make a Digibeta tape for final telecine. The Quicktime files were sent to our on set assistant editor, using an almost identical MacPro system, who did a quick one lite color correct in FCP and then imported into the AVID (editor's choice) to begin almost immediate offline editing. A copy of the file was sent to a local post house to create the Digibeta which was sent to L.A. for telecine. All in all, a most workable solution.
The RED Team should be very proud of the camera system they have delivered. My compliments to all the members of the team who have worked so hard to make this dream a reality. I am anxiously looking forward to all the new innovations coming down the pipe.
ZERO dropped frames, ZERO down time for the Camera, ZERO interruptions of production time. The system worked flawlessly!
The Director, Agency, Client and Production were thrilled with the images they saw on set and even more pleased with the final result. The integration of the camera into our workflow was seamless. Except for the incredibly crisp "Video Assist" images, everyone would have thought we were on a 35mm film shoot.
I was at the final telecine today in L.A. at SSI and the editor (not know for his enthusiasm or compliments) said this was the best stuff we have ever given him to work with. Scott, our long time colorist, was extremely pleased with the files. He said the green screen work was so clean . . . "Helen Keller could key these shots."
Our workflow on set was very efficient.My DAS used RedCine on my MacPro 8 Core with internal RAID to copy, check, scale and transcode the footage. RedCine never crashed, never balked, never slowed once. We are delivering in NTSC SD format so it was necessary to scale the shots to 720 x 486 and transcode to Uncompressed 10 bit Quicktime files to make a Digibeta tape for final telecine. The Quicktime files were sent to our on set assistant editor, using an almost identical MacPro system, who did a quick one lite color correct in FCP and then imported into the AVID (editor's choice) to begin almost immediate offline editing. A copy of the file was sent to a local post house to create the Digibeta which was sent to L.A. for telecine. All in all, a most workable solution.
The RED Team should be very proud of the camera system they have delivered. My compliments to all the members of the team who have worked so hard to make this dream a reality. I am anxiously looking forward to all the new innovations coming down the pipe.
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