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Fuji Film in Tokyo is holding a special screening of the upcoming feature film "Raise the Castle!" on May 29th at Fiji Film HQ hall. Door opens at 15:30pm. The admission is free. Yo Kohatsu/Director, Takeshi Tsuji/DP and Kaku Ito(me)/RED ONE production supervisor will be attending to talk...

I got up to calibrate all of my editing environment (with Imagica's help) except RED application software. If RED can provide us reference charts in R3D, we can easily calibrate our editing environment when we use REDCINE, REDAlert! and even with Clipfinder. Can that be possible?

After grading R3D footage in Color, have you notice grading changes (like it gets really bright) even you apply saved preset? I think this is happening more often after I installed the new RED QuickTime Codec.

There are so many software now and I can't really recall, but is there any software can utilize the edgecode to conform from EDL files? I transcoded all of the clips and place them to a timeline starting from 1.00.00.00, so the time code should be identical to the edgecode if there are no drop...

Our customer mistakenly changed the roll number during the shoot, and three takes which were on the compact flash are not recognizable. Is there any way to retrieve these takes?

The feature film "Raise the Castle!" is going to be completed soon and I'm involved from the beginning, convincing the member to shoot with RED ONE, edit natively, save money on pre grading/digital telecine with the Color, then take it to Imagica for real color grading and film out with...

I posted a quick impression of Adobe Production Premium CS4, Decklink HD on a inexpensive Acer M7720 with i7 chip. It even comes with a Blu-ray drive and ATI 4870HD. Edit: http://www.brightminds.jp/index.php?option=com_content&view=category&layout=blog&id=1&Itemid=2

I'm on final stage to wrap up the dpx files from Color for sending to Imagica Japan's DI environment on this feature called "Raise the Castle!". We are going to be submitting the edl, xml and the dpx folders from the FCP and the Color. The edl and the dpx folders will be sent to davinci...

http://www.v4hd.com/news/item7.html

http://blackmagic-design.com/support/software/

So, finally, the new Mac Pro with Nehalem came out. Craig, did you try this with Cineform already?

One of the feature film that I'm associating is undergoing the post production procedure. This was shot in 2k 2:1. The DP wanted to keep this aspect ratio (since 2:1 is some cinematographer's concept that he believes in) so we will print this in 1.85:1 or 16:9 letter boxed. What do people...

Just a note to Apple users. The Compressor Repair got updated and now is able to fix even the stubborn problem. One Mac Pro I use had this stubborn problem that every restart making the Qmaster to stall. You can boot the older Compressor Repair and it will notify you to update.

I started sorting out FCP/Color gamma facts in my newly established site to share. It's not completed but I want to put together the most updated information there so users can save time. brightminds website I will cover more about using MXO, MXO2, MOTU V4HD, Multibridge Pro for R3D editing...

I've been trying to decide on a second master monitor with 4:4:4 feature (we have a BVM-D24), from very valuable information here at REDUSER, Tamuz looks like a good one and also I'm informed that TVLogic is coming out with 4:4:4 reference monitor. Sony had release this 10-bit (processing is...

My staff shot a music video and I guess he thought he wanted slowest motion and wanted achieve cinema look, so he shot at 23.976, then to submit it to Universal Music, I had to arrange it to convert to 29.97. I'm pretty sure geniuses here have their own ways to do that, but from my experiences...

Let's report and talk about it.

Hi everyone, I need a quick fix on footage and please contribute any know hows to help me. There are some clips which were shot with 48 frames over 24 with rather faster shutter speed for nice slow motion effect but the director wants to use the clip with normal speed. By speeding up 200% to...

I don't know if this is something other people realized, but worth mentioning I think. This is part of my film out workflow, too but when you want your DPX on FCP go back to Color again (say you receive DPX file from compositing people and grade it with other R3D footage), you can simply place...

http://www.redportal.jp/redportaljapan/Workflow/Entries/2009/2/7_Jane_&_Jenny’s_Birthday_Trip_files/Red%20One%20film%20out%20workflow.pdf