Series on shooting Red

[Leandro Marini]

I've posted part 1 of a 4 part series on areas of concern when shooting the RED. part 1 is on color balance :

http://localheropost.squarespace.com

Please ask a question or comment!

Leandro Marini
Local Hero Post

 

[Joe Shemesh]

much appreciated!!!

much appreciated!!!

Thanks very much for taking the time Leandro

best
joe

 

[Patrick Wynne]

Hey Leandro,

I was just wondering if your color balance blog was written with the new build 20 color matrix in mind?

 

[Leandro Marini]

No.

I'm very excited by what i'm seeing in build 20 and the new color science being tested by Red.

I don't think that will change the nature of the CMOS chip, though, which is what we are discussing here.

When we've had some time to test build20, we'll write a follow up.

 

[scott william]

thanks for posting that info page. What does DI stand for??

 

[Leandro Marini]

Digital Intermediate. Used to be only for when you shot film and scanned your negative.

Now, DI has come to mean the digital finish of any film, regardless of wether it was captured digitally or on film.

Once you're in the grading system, your in the same color space, film or digital.

 

[scott william]

thanks leandro.

Have you ever worked with SI 2K raw footage? just wondering if the RED grading process is close to that of the SI 2K in cineforms metadata control?

 

[Leandro Marini]

Hi Scott,

Yes, I've done 2 SI-2K films. I really like that camera. Pros and Cons. GREAT LATITIUDE, better than the red. More organic color, too. But very soft and 2/3 dof. Kind of similar to a VIPER.

Yes, the metadata workflow is very similar to the red's, although less user-friendly. Fewer tools out there support the SI-2K files natively.

Still a great camera. Just look at Slumdog Mil. ( which won the best cin. oscar btw )

 

[Von Thomas]

Leandro,

I really appreciate you posting this material, very useful. I also went to Local Hero website, and was very impressed with the work.

I try to get a gray card shot for a few seconds each time the lighting has changed. How valuable would that be to you? I normally neutralize the clips and update the proxies in RED Alert using the gray card.

I've attached two images from a scene shot under low level tungsten, one with no gray balance, the other with gray balance and a small tweak.