David Morgan
Well-known member
Hey all,
Just got this email yesterday for the Indieclub in Houston about a meeting for this week:
This will prove to be very interesting and a must for those of you
shooting future projects with the "RED ONE". You are invited to a
special-preview of his digital cinema display theatre.
We welcome you to join us and experience a new inspiration to get
your next film on the road. We will be featuring The RED ONE camera
hooked up and displayed, on HD and projected. Eye Candy Inc. has
recently remodeled and installed a new Qualia projector along with a
7.1 surround and 8K watts system. Our theatre features a new cinema
screen with a Panavision 2:40 anamorphic ratio.
1- We will be featuring a special presentation by Director/Producer
William H. Collins and Director of Photography Larry McKee, where
they will discuss the RED ONE work pipeline and the many hazards that
are not being discussed by the vendors.
"In typical fashion Apple makes the claim that if you RUN and
purchase a Mac pro with Final Cut Studio, you are set (to work with
REDCODE). While this will make it possible to work with your RED ONE
4K footage, the journey to a final that retains the color information
is far from what is advertised."
2- We will preview the features of the RED ONE camera package.
Including your DP Larry McKee and what expertise he can bring to a
shoot.
3- We will discuss and demonstrate typical problems editors will face
in FCP when working with REDCODE proxies.
4- We will discuss what you will run into when you begin to post your
amazing 4K footage into a final edit.
5- We will talk about the more disturbing and unspoken problem of
working with DPX footage and the conversion process.
6- We will discuss Apple Color, Shake, FCP and other methods of
processing your footage and the variants of color data you end up
with. We will discuss the methods that make it possible to keep your
logarithmic footage color and deliver the kind of quality the
audience of today expects outright.
7- We will show you why the day to shoot your film is today, and
introduce you to the process to make that possible.
8- We will share how the encapsulation of your production process and
post in a package form is a hot selling point for investors, and the
benefits of showing your film for audience testing on the digital
cinema display theatre.
9- We will preview the monitoring technologies and discuss typical
problems. What you don't see can hurt you final!
I'm a little concerned that this might just be a big session of haters, but I'm also hoping there might be some good information given out here. I'll check back later this week with a report on the meeting, and give my response to it.
Hopefully it will give me some questions to ask here before I get my own camera.
Just got this email yesterday for the Indieclub in Houston about a meeting for this week:
This will prove to be very interesting and a must for those of you
shooting future projects with the "RED ONE". You are invited to a
special-preview of his digital cinema display theatre.
We welcome you to join us and experience a new inspiration to get
your next film on the road. We will be featuring The RED ONE camera
hooked up and displayed, on HD and projected. Eye Candy Inc. has
recently remodeled and installed a new Qualia projector along with a
7.1 surround and 8K watts system. Our theatre features a new cinema
screen with a Panavision 2:40 anamorphic ratio.
1- We will be featuring a special presentation by Director/Producer
William H. Collins and Director of Photography Larry McKee, where
they will discuss the RED ONE work pipeline and the many hazards that
are not being discussed by the vendors.
"In typical fashion Apple makes the claim that if you RUN and
purchase a Mac pro with Final Cut Studio, you are set (to work with
REDCODE). While this will make it possible to work with your RED ONE
4K footage, the journey to a final that retains the color information
is far from what is advertised."
2- We will preview the features of the RED ONE camera package.
Including your DP Larry McKee and what expertise he can bring to a
shoot.
3- We will discuss and demonstrate typical problems editors will face
in FCP when working with REDCODE proxies.
4- We will discuss what you will run into when you begin to post your
amazing 4K footage into a final edit.
5- We will talk about the more disturbing and unspoken problem of
working with DPX footage and the conversion process.
6- We will discuss Apple Color, Shake, FCP and other methods of
processing your footage and the variants of color data you end up
with. We will discuss the methods that make it possible to keep your
logarithmic footage color and deliver the kind of quality the
audience of today expects outright.
7- We will show you why the day to shoot your film is today, and
introduce you to the process to make that possible.
8- We will share how the encapsulation of your production process and
post in a package form is a hot selling point for investors, and the
benefits of showing your film for audience testing on the digital
cinema display theatre.
9- We will preview the monitoring technologies and discuss typical
problems. What you don't see can hurt you final!
I'm a little concerned that this might just be a big session of haters, but I'm also hoping there might be some good information given out here. I'll check back later this week with a report on the meeting, and give my response to it.
Hopefully it will give me some questions to ask here before I get my own camera.
