ARRI CEO: "We want to have the worlds best digital camera this year".

[Chris Parker]

of course they want to reduce costs....but only to a point. they won't go out and crew up with joe schmo as their keys just to save a few extra thousand ON A SHOOT WHERE THEY CAN AFFORD to hire proper crew.

same goes for gear. they won't rent someone they don't trust for their RED camera just to save a few hundred dollars when they have 50 grand invested invested in art department/talent/fx,etc.

 

[M Most]

I do no know of any producer or production company that is NOT constantly trying to reduce costs, (after 20 years of this I wish I did know a few!)

Cost reduction is desirable, but for network television programs it is only acceptable if the quality remains the same, production time is not impacted at all, AND:

1. Daily materials are available in a time frame not exceeding that which is currently in place. That means color corrected picture and sync sound for print takes on DVCam (and on occasion, digitized files) for editorial, multiple DVD's for various producers, the director, the DP, and various production company and studio execs, and on occasion, HDCam or DigiBeta tapes for network promo, and Windows Media files for electronic distribution. All of this needs to be ready by about 9 or 10 AM, assuming about 2 hours of material.

2. Assemblies can be done as efficiently as they are now (as little as 6 hours turnaround for a 1 hour show).

3. Color correction can be done in real time, with layoff to tape for deliverable creation. This process should take no more than 10-12 hours for a one hour show.

For television, the only workflow that can accomplish all of what I've listed is an HD videotape based workflow, as it allows most of what is listed above to happen in real time, in the format already needed for the deliverable product. So when and if television series decide to shoot with a camera like the Red, the likely workflow will be to get the material to a high quality video master immediately and proceed with post in exactly the same manner as a show currently shot on film. That's the only thing that really makes sense at the moment.

 

[Tai Wah Lim]

3. Color correction can be done in real time, with layoff to tape for deliverable creation. This process should take no more than 10-12 hours for a one hour show.

For television, the only workflow that can accomplish all of what I've listed is an HD videotape based workflow, as it allows most of what is listed above to happen in real time, in the format already needed for the deliverable product. So when and if television series decide to shoot with a camera like the Red, the likely workflow will be to get the material to a high quality video master immediately and proceed with post in exactly the same manner as a show currently shot on film. That's the only thing that really makes sense at the moment.

mmost,

I am new in post workflow, how do they do color correction in real time for tape? Or what are the tools needed to do color correction in real time for tape recording? From my limited understanding, most correct correction is now done in DI?

Lim

 

[Dylan Reeve]

For television a lot of color correction is done with tape-to-tape systems like DiVinci. The corrections are done against images from a tape with an EDL used to store the cut points. Then for output the source tape is played through the system, and the output recorded - the corrections are applied to the video as it passes through and are recorded to the graded master. In other cases there may be a sort of tape/DI hybrid. All the images are captured into a system that can output the captured video, with grade effects, in realtime to a tape with no render delay.

I've worked around both these workflows and they are really good and really quick. For film, where there is more time and money and less finished minutes, there is more luxury to bet more in depth (plus, once you get to 2k or 4k you don't really have realtime tape anyway).

 

[Petr Dvorak]

"vaporware" fever is here :shiftyph34r: :biggrin:

 

[Tai Wah Lim]

For television a lot of color correction is done with tape-to-tape systems like DiVinci. The corrections are done against images from a tape with an EDL used to store the cut points. Then for output the source tape is played through the system, and the output recorded - the corrections are applied to the video as it passes through and are recorded to the graded master. In other cases there may be a sort of tape/DI hybrid. All the images are captured into a system that can output the captured video, with grade effects, in realtime to a tape with no render delay.

I've worked around both these workflows and they are really good and really quick. For film, where there is more time and money and less finished minutes, there is more luxury to bet more in depth (plus, once you get to 2k or 4k you don't really have realtime tape anyway).

thanks Dylan.

 

[J.D. Frey]

That could be tricky. As I mentioned in an earlier post that before each camera ships an extensive calibration is done to reverse the effects of dark currents and non-uniform sensor behavior to uniform light exposures. Every sensor has different masks for these. This calibration data has to be some how applied to the signal coming out of the sensor, either in-camera before output, or off-line processing on your computer. I do not know how Red would handle this situation.

So it's not something they could do in-house. Of course I guess by that time- buying a RED TWO would be the upgrade... and hopefully it would have a similar form factor to the RED ONE.

J.D.

 

[Dj Joofa]

So it's not something they could do in-house. Of course I guess by that time- buying a RED TWO would be the upgrade... and hopefully it would have a similar form factor to the RED ONE.

J.D.

One way to do this would be as already suggested by somebody on this forum is a full board swap instead of just sensor swap, so that all components required for calibration, clocks, pipelining etc., come with it.