ENG & TV work

[Jeremy Torrie]

I've just spent 5 days shooting a doc with the Red for the first time and I had no trouble at all (except for the fact one of my 16 GB Red CF cards didn't work at all but Red is replacing), and that was with the 18-85 lens and the Mantis for HH work.

Yeah the cam is a beast in this config, but I'm a big boy who can handle it...on sticks I worked with my 2575B O'Connor head -transferring R1 body, plate & camera head was a solid workout.

Shooting this way really meant that the producer and director had to really think about what it was we were shooting and why...and that was a good thing. We have on screen talent that wants anything and everything to be shot, and the folks in charge are reticent to say 'no'...I know from my experience that much of what this talent is suggesting will end up on the edit room floor. So, having to set up The Beast means I can get involved and tell them "Well, this is what we need from a sequence POV, it will take this much time to get it, and by the way we have about 12/13 minutes per card so let's try to be as efficient as possible." They love these 'restraints' because it does make everyone focus on the meat of what is about to be shot. Do we really need that shot? 'Cuz I'm going to have to light it, and then we'll need to get our turn around...many examples like these, but the point I'm making is that the size of the camera can work in your favor as opposed to being a problem.

As for this latest question about a clean HD-SDI out, I'm surprised that it HASN'T already been addressed. I'm using the 7" EVF at the moment for viewing as I felt I'd wait for the Bomb...but with the Element Technica adaptor I thought it would be business as usual through the HD-SDI, and it is not unfortunately.

 

[Stuart English]

Clean feed output

Clean feed output

anyone else out there interested in this feature? if it is possible on the RED One firmware, i have 3 cameras that would greatly benefit from it, i'm sure there are others out there.

Try Build 21 V21.3.1 firmware. This allows the LOOK AROUND area to be made transparent. Detailed description on P69 of the Ops Guide.

So you can get a clean view output - but you will need both EVF and LCD attached if you want to prevent any frame guides from showing up on the HD-SDI output if you do have them enables in the EVF / LCD output.

 

[Eki Halkka]

1. Handle

Red gunner looks like a possible solution for most eng configuration needs, judging from the renders it could very well have an adjustable handle with zoom rocker, autofocus/autoiris buttons etc...

...and as far as hardlined production goes, i guess it's just a matter of making a module for that, isn't it?

 

[Hrvoje Simic]

Red gunner looks like a possible solution for most eng configuration needs, judging from the renders it could very well have an adjustable handle with zoom rocker, autofocus/autoiris buttons etc...

...and as far as hardlined production goes, i guess it's just a matter of making a module for that, isn't it?

My thoughts exactly. Looks like the gunner has a few more tricks up its sleeve.
I'm hoping that gunner handle will have a more organic shape, though.

 

[Harryflex]

Hi

This is my first post and new to the site, so any guidance would be appreciated. I'm about to embark upon a high end documentary series, shooting overseas primarily for UK terrestrial TV and wish to utilise the Red system. I have not yet used the camera and need all the help I can get. I understand the basics of the camera and the need for a decent DIT. Which build/configuration would be best and should I be shooting 4K or 2K for 16:9 TV delivery?

I anticipate shooting a lot of available light and some slo mo. Vibration could be an issue (CF cards or Ram?)

Any help would earn a beer If we ever cross paths!!

H

 

[Steve Gibby]

Harry,

I've done multiple documentaries with my RED One cameras, so hopefully the general info below will help get you started.

First, I'd say get as familiar with the camera for as possible long before you go out to use it on a project like you described. For safely, I'd suggest you use the current shipping build - not a beta build. Daily data wrangling is critical. When we travel to shoot with RED One we either take redundant had drives for backup, or a combination of hard drives and LTO data tapes. Checking through the dailies is critical to confirm the camera performed as you wish, thought, etc.

RED 4k is a lot of data for a documentary, unless it is destined for the big screen. I shot all my documentary projects in 3k 16x9. Frame rate for a UK delivery would be 25fps. Alternately you could shoot it at 50fps if desired. RED 3k debayers out to around 2.34k, still significantly more resolution than 1080p. When 3k is resampled and scaled down to 1080p you'll get a nice, chroma-rich result.

If you shoot 3k on RED, you can choose between S35mm cine lenses, or 35mm still lenses. Your choice will depend on what you're most comfortable and experienced with, mobility, and other factors of your doc.

If you're shooting available light get fast zooms. Some people shoot docs with prime lenses, but I always use zooms on docs, and just use them as variable primes. Make sure your lenses have wide capability.

If you're shooting slow motion you might want to set the camera up for a project frame rate of 25fps and shutter speed of 1/50th second. When you need to shoot a slow motion sequence, assuming you have the project frame rate set at 25fps, simply use RED's Varispeed function to overcrank the frame rate up to 50fps and maybe a shutter speed of 1/120th second. When you play this clips back they will play in smooth 50% slow motion.

If vibration will be light to moderate try using the RED Drive mount via an Element Technica Shock Mount. I use the shock mounts extensively with good results. The drive gives you somewhere around five hours of 3k footage storage - something very cool for long-form programming like docs. For extreme vibration the CF or RED Ram drive are the answer. With the Ram drive you'll be able to overcrank to higher frame rates for the slo motion sequences - but not with the CF cards. I own a box of CF cards, but I rarely use them on long-form programs because of their relatively low storage capacity.

You'll need at least four RED batteries and two chargers, but six batteries would be even better.

You need to get your camera kit together and do a fair amount of shooting with it, and processing the raw files, long before you head out to do your doc.

The above info I've offered should help you but you'll need a lot more than that. I'd suggest you do some searches here on RED User for documentary production with RED One and you'll find multiple threads on the subject.

Cheers! :cheers2:

 

[Harryflex]

Thanks very much Steve, this is very useful information. An on line bible as it were.

Cheers