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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

I'm going to do my first job

R

rotten

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Does anyone have any suggestion about workin on-field with red?
maybe some bug that can happen during the shootig, or some particular Dop request or thing to care in particular, etc..
thanks
 
Brother, hence REDucation. I'm in your shoes when it comes to the unexpected. Although I can't imagine ANYONE fully qualified to deal with all the surprises, experience is the key - experience and education. Having neither, I decided to take the REDucation challenge.
Outside of that, I can't help you a lick. The question is broad, as there are many challenges I'm sure.

MARC
 
As of Built 17, it's a pretty robust system. In an average feature, you probably won't encounter too many unexpected bugs.

I suggest, first and foremost, that you read the Operations Guide relevant to the firmware build you'll be using. The major bugs are documented there. Come back here for anything that's not explained fully and clearly (there's plenty!).
 
what do you think about get a correct exposure with red? I mean I use to get oriented the rainbow bar but whet it gets red (that should mean "clipped") the waveform on panasonic btlh900 doesen't says the same and the signal is under 1v (100 ire), why?
Another thing, please, if you use a 60 fps time base, can you shoot at 25 without fast motion? (i know it could be a weird question) but I fell in difficult when they want to shoot at different framerate without loss of quality. Any suggestion?
Thank you so much
 
....and what about keep the camera cold when the temperatures goes high?
I had this problem recently, I had to stop the shooting for 5-10 minutes and put a fan on it because I was worried about the high tmperature reached.
 
rotten said:
....and what about keep the camera cold when the temperatures goes high?
I had this problem recently, I had to stop the shooting for 5-10 minutes and put a fan on it because I was worried about the high tmperature reached.
Click to expand...

Shade the camera, if not shooting sound and it's high temps, turn fan on, set to HOT. Also cold packs, and towel to kept condensation from seeping into vents.

You can search the threads here at reduser to find most any subject you need.

As far as exposure, have you even shot with a professional digital camera, if so, it's basically the same. ETTR (expose to the right).

See this thread from Jim Jannard, http://reduser.net/forum/showthread.php?t=30055&highlight=histogram
 
I shooted a commercial that had a completly white background. In the way it got exposed the picture had blue reflection and the blue traffic light on redlcd was lit.
In post production they say that the white was too much blue.
I thought that you could change every setting about color temperature and everything. I mean that i thought it wasn't a problem. We were shootig in a studio with tungsten lights. I saw the result in tv and ther is a bluish zone in the picture.
Is possible that they wren't able to set it at right ct?
please help me 'cause maybe I haven't understand something and I keep shooting in red so I would like to set the camera properly in any conditions.
thanks
 
I hate to say this, but I'm gonna, if you are shooting RED (and especially if you are new to RED), you should have on set a RED Tech that can assist you with exposure and give you info as to how RED sees. Now before I get ripped, let me qualify that. RED is new, it's process is much different than shooting film or video. Because it is new technology, using past procedures most often will result in not using RED properly, and you having a bad day. If you have been shooting digital still for years, you will get this quickly, but if you've been shooting neg film for years, you will not have the best results using that workflow.

I know the above does not solve your problem, but it something that needed saying, especially for those new to cinematography, and definitely those new to RED.

Use a gray card in the beginning of your shot, make sure it's in the KEY light. Each time you change lighting, shot another gray card. When bringing your clips into RED Alert, click to bring that little square on the gray card, and click the WB tab, your picture will neutralize, and all color cast will be corrected. If you had done this, your blue cast would have been eliminated, and you'd be happier.
 
Color balance can easily be set in post, but with any digital system, once something is clipped, there is no recovering clipped data. What people sometimes forget, is that a single channel can clip before the others. In this case, it sounds like the blue channel clipped before the red and green, resulting in a 'too blue' background that is difficult to fix.

That is strange that it would happen under tungsten lights though, were you using a correcting filter, like an 80A?
 
Von Thomas said:
I hate to say this, but I'm gonna, if you are shooting RED (and especially if you are new to RED), you should have on set a RED Tech that can assist you with exposure and give you info as to how RED sees. Now before I get ripped, let me qualify that. RED is new, it's process is much different than shooting film or video. Because it is new technology, using past procedures most often will result in not using RED properly, and you having a bad day. If you have been shooting digital still for years, you will get this quickly, but if you've been shooting neg film for years, you will not have the best results using that workflow.

I know the above does not solve your problem, but it something that needed saying, especially for those new to cinematography, and definitely those new to RED.

Use a gray card in the beginning of your shot, make sure it's in the KEY light. Each time you change lighting, shot another gray card. When bringing your clips into RED Alert, click to bring that little square on the gray card, and click the WB tab, your picture will neutralize, and all color cast will be corrected. If you had done this, your blue cast would have been eliminated, and you'd be happier.
Click to expand...
Seconded!

Red is capable of amazing pictures BUT you need to understand how to make conditions favourable to getting those pictures. That goes from understanding how to expose Red to using the post tools correctly.

If you are new to Red, seek out those of us who have been shooting the camera every day for eighteen months or more. It's worth it for your own peace of mind and your producers will thank you in the long run because the images turned out amazing.

HTH

Paul
 
so what you think about expose with red?
I should follow the red raw histogram?
what about the rainbow bar and trafic light?
I hope to not be borimg
 
Welcome to shooting on RED.

I would advise that most of your questions are already answered here on the forum and you can use the "Search" link above the find those threads.

Also, REDUser is a real-names based forum. When you get a chance, you can go here to update your profile:

http://www.reduser.net/forum/showthread.php?t=27544

For now, you can just sign below your posts...

Again, welcome.
 
I'm shooting with red build 18.0 and sometimes happen that vertical line appears on the picture. Every times it happen I do a blackshading calibration and things back to normal. Do someone knows something about?
And what about the green error at the beginning of every clip with audio recorded on camera?
 
Hey guy,

Things I learned from Reduser:

- 5000K is best white temp. If using other temp. lights, some adjustment is liked by the camera (gel/filter).
- Build 20 is cleaner with nicer colors (camera firmware)
- Cold packs might be needed in hot conditions.
- There is some kind of battery connection issue that can shut the camera down (search)
- It's best to use google search with "site:reduser.net" instead of the search on this site.
- If you use ND more than .9, you need a mirror reflector for IR, infra-red radiation turning the blacks purple.
- Shooting the sun could also produce a black sun if the sensor is assaulted.
- Rolling shutter can be a problem if you have flashing strobe lights. Half the image could be flashed, the other not, on one frame.
- Rolling shutter could also affect the way straight lines look when fast panning or fast motion (train) passes by the sensor. May need to rethink angles.
- Underexposure produces noise, and the sensor is always native 320ASA, so light sufficiently to give the sensor what it wants.
- Use a software that backs up the data and checks the copied files for errors.

Good luck.
 
I see people trusting the output on an uncalibrated monitor and under or over exposing the image. Because it "looks too dark" or "looks too bright." Just trust the histogram for exposure.
 
Elvis Ripley said:
I see people trusting the output on an uncalibrated monitor and under or over exposing the image. Because it "looks too dark" or "looks too bright." Just trust the histogram for exposure.
Click to expand...
This needs to be read again! It is so true! I always tell our clients to judge exposure not by what they see on screen, but by the histogram/false color meter. Sometimes they listen, most times they don't, with the result that they get less than optimal imagery from the camera.

Those of you new to Red's way of shooting - remember you are shooting for a fat dynamic range negative, NOT for the best possible picture on the little LCD from the camera. The histogram is your BEST tool for achieving this. Then in post you will see how much better your image becomes.

Cheers,

Paul
 
Paul Leeming said:
Those of you new to Red's way of shooting - remember you are shooting for a fat dynamic range negative, NOT for the best possible picture on the little LCD from the camera. The histogram is your BEST tool for achieving this. Then in post you will see how much better your image becomes.
Click to expand...

Bravo Paul. The more we keep saying it, maybe in 4 to 5 years it will be a standard. It took a while before still photographers understood the histogram also, but now it's their main exposure tool. RED and digital still cameras share this common bond, you understand one, you understand both.

Also, I keep saying that if you do not want to hunt for neutral color (color temp and tint sliders) use a gray card in key light. Use that as reference for your white balance in RED Alert or RED Cine. One day soon, I'll do a QT lesson on how to get your color right. I've seen some nicely cut projects, look awful due to poor skin color. When skin tones don't look pleasing, it ruins the picture for me.
 
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