FREE REDRocket Rendering with RED M-X Package & DIT, San Francisco

[chris layhe]

Here in sunny San Francisco we have decided to take on the RED rendering bottleneck headlong - you know, the little matter of rendering before editing that messes up schedules, creates budget nightmares and so often ends up with all our beautiful work being degraded (or worse) by "shortcuts" to bring render times down from weeks to days at the cost of the footage.

How? Easy - we'll render everything out to 1080P at full resolution with a one light color correction for FREE.

Complete RED M-X system:
18mm through 100mm RED Pro Prime set
RED 18-50mm Zoom lens
Angenieux 25-250mm HR Zoom lens
Zeiss Doubler lens
LensBaby DOF manipulation lens
640Gb and 320Gb drives
2x 8Gb CF cards
RED LCD
RED EVF
9" SmallHD HDMI monitor
Marshall 5" HDMI monitor with focus and exposure display
17" Panasonic BLTH HD-SDI Monitor with waveform
4x RED batteries and charger
RED power supply
RED/Arri handheld kit
Arri FF4 follow focus
Redrock mattebox

Support:
O'Connor 2060HD head
O'Connor 50D lightweight head
Long, short and hi-hat legs
Seven 7ft Jib and Libec head
EasyRig Cinema handheld assist
Complete Apple DIT system with all software and eSATA and FW800 interfaces

Audio:
6x Tram lavalier mics
2x Lectrosonic wirelesses
Sennheiser 216 boom mic
Sound Devices 416 mixer
Neumann studio mic
Tascam digital recorder with timecode
Sony PCM-D50 b-roll digital recorder

And More:
On-camera prompter system and Apple laptop
Interatron camera/dual prompter system
Canon 5D MkII and 7D camera systems with lenses
GoPro POV camera system
Lighting (1k and 650w fresnels, KinoFlos, 500w and 250w fresnels, plus)
Grippage

We also have a fully mobile REDRocket and colorist system available for on-location correction, approval and rendering so you can start editing an hour after the first shot.


We ALWAYS provide an experienced RED DIT on every shoot to manage the camera and data, and next day or same day one light color correction and 1080P rendered output is included FREE using our REDRocket super high speed render system. We can also provide camera operators and any other crew, plus multi-camera RED shoots up to around 12 rigs, anywhere in the Bay area or nationwide... and if we DP the project we also include insurance for any of our equipment AT NO COST. Call me on 831.477.1806 to chat or for more details see www.redfilm.us (and in case you are wondering - we are not a rental company, we are a well known and very experienced production services company so this is the equipment and crew we use on our own single and multicam RED gigs, it is all in exceptional condition, and we have battle tested RED workflows that painlessly take you from design to mastering intimately!)

Chris

 

[jimhare]

Hey Chris, this is a good policy. I've done this since getting the Rocket a couple of years ago. I like it because not only does it speed and clarify the process, it ensures that Red footage looks great, which a lot of people screw up because they don't know what's possible.

 

[chris layhe]

The screwing up thing is a big part of our reasoning, Jim, I hate to think how many phone calls and "repair" edit sessions we get every year from clients who have had their piece edited with the proxy quicktimes, a quarter debayer render or simply output in the wrong format with metadata that is plain rubbish... let alone those who bring it direct into quicktime or avid to import and then wonder why they have massive render times they never planned for, 2k images when they want 1080P or 4k, and simply terrible looking images.

I hate to think of the number of screwed up projects that we never get to see that are shot on rented cameras with the DP's 17 year old cousin as the DIT (hey, it's only data wrangling - kids understand computers), or even with owner/operators that have to get a product out to the editor the next day or just have no real world experience (cool, my dad/apple share buyout bought me a RED and now I can tell the world that I'm a DP). When I speak to people who have shot a project with RED and deride it as useless or overrated it almost always turns out to be that they had a DIT who knew nothing or/and a really bad output they did themselves, by the "DIT" or with an editor who didn't understand RED and had no appropriate technology.