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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Justified Season 4 premiers tonight. Shot on RED

From Henrik Cednert
"Would be really interesting to hear more what the workflow all the way from on-set to delivery is for this show. Do you master in 4k or do you downscale in post and DI?"

I wanted to answer the question about the Justified workflow. We shoot mostly 4K HD. I'll go to 5K and on rare occasions to 3K HD if it facilitates a quicker shot. We work at the speed of light shooting 8-10 pages a day on 3-4 sets. The show is shot in seven days. Richard Crudo, ASC and Kees Van Ostrum, ASC both help me. The pace is so fast that my approach is to throw as much talent towards the show as possible. The Epic really allows for a crew to shoot faster. We build the cameras as though they were a large format still camera (which the Epic is). The camera is built small, using Zeiss Ultra Primes, small Angenieux Zooms, and Schneider Black Magic Filters (1/4 and 1/2). Keslow Camera is the rental house. Robert Keslow is a prince. Post is reduced to 1080p which drives me nuts but the R3D files are stored for future use. These shows are giant machines where older technology is sometimes applied along the pipeline. It's very frustrating for a cinematographer when you know a better path to take that wouldn't cost anymore. Cinematographers have little control once it leaves the set. Yet about a week ago Michael Cioni from Lightiron did me a huge favor by making a print in 2K using his new color science. I'm in awe knowing Michael Cioni. He's not only a brilliant man but also an incredible artist. The print he made was beautiful. The midrange opened with shades I didn't know existed. If anyone wants their prints to come out looking beyond expectations go to Michael Cioni at Lightiron.

Thank you again Red. You guys defined the term of following your bliss. I'm not kissing ass. I'm giving credit to those gifted people who took on the dragon and won by listening to cinematographers.

Francis
 
Thanks Francis, appreciate it! =)

And yes, Michael is a true rockstar in the post world. =)

Do you guys do any grading on set with the DIT? Or is it pure data wrangling and of to the post house? Do you know what system they normally grade the show in?

Thanks again. I just love workflows and could probably talk about it all night. =)


Francis Kenny said:
From Henrik Cednert
"Would be really interesting to hear more what the workflow all the way from on-set to delivery is for this show. Do you master in 4k or do you downscale in post and DI?"

I wanted to answer the question about the Justified workflow. We shoot mostly 4K HD. I'll go to 5K and on rare occasions to 3K HD if it facilitates a quicker shot. We work at the speed of light shooting 8-10 pages a day on 3-4 sets. The show is shot in seven days. Richard Crudo, ASC and Kees Van Ostrum, ASC both help me. The pace is so fast that my approach is to throw as much talent towards the show as possible. The Epic really allows for a crew to shoot faster. We build the cameras as though they were a large format still camera (which the Epic is). The camera is built small, using Zeiss Ultra Primes, small Angenieux Zooms, and Schneider Black Magic Filters (1/4 and 1/2). Keslow Camera is the rental house. Robert Keslow is a prince. Post is reduced to 1080p which drives me nuts but the R3D files are stored for future use. These shows are giant machines where older technology is sometimes applied along the pipeline. It's very frustrating for a cinematographer when you know a better path to take that wouldn't cost anymore. Cinematographers have little control once it leaves the set. Yet about a week ago Michael Cioni from Lightiron did me a huge favor by making a print in 2K using his new color science. I'm in awe knowing Michael Cioni. He's not only a brilliant man but also an incredible artist. The print he made was beautiful. The midrange opened with shades I didn't know existed. If anyone wants their prints to come out looking beyond expectations go to Michael Cioni at Lightiron.

Thank you again Red. You guys defined the term of following your bliss. I'm not kissing ass. I'm giving credit to those gifted people who took on the dragon and won by listening to cinematographers.

Francis
Click to expand...
 
Henrik. If you are around the LA area please come visit us.
We try and do some grading on set. We use Michael Cioni's Lilypad System. Basically it's a one lite. The beginning of season four was really screwed up. I'd get dailies back via internet and not be able to see anything. The first two weeks I lived with not having the Lilypad. We'd send twenty five cards to the post house not knowing the look. I objected to that workflow one month before we began shooting. Once our Lilypad operator arrived everything became normal. But it was insane not knowing.

Redcine is a very useful tool. We dial in a look on set but it's very basic because of the amount of footage. DaVinci System for post color correcting. I don't have a clue what happens to the image after it leaves the post house. I have this image of someone cranking up the image at 3am then sleeping during the transfer. But that's my imagination.

I was amazed how different things looked over my DSS last night. The screening of the 2K print was beautiful. Blacks held up. Huge midrange. Whites did not clip. What I saw last night had pixelation. It's soooooo frustrating. I have several Panasonic plasma screens which I love but maybe I should get cable.
F
 
Francis,

Thanks for sharing your experience. It would be VERY interesting to visit your set. It would also be fantastic to see a BTS video focusing on one episode and how you use Epic and workflow tools. Perhaps someone could shoot such a video?
 
Watched Justified last night, very impressed by the images especially the high contrast jail scenes.
Francis Kenny does a great job of DPing Justified, Red Epic delivers amazing images.


RED is helping to drive a revolution in multi camera production,
Seeing a show like Justified that looks great and that is being shot with 3 or 4 cameras at a time, instead of classic single camera style of production proves that RED cameras not only deliver wonderful images but also can save time and money on the set.
 
PLEASE!!!!!

PLEASE!!!!!

Francis Kenny said:
(snip)
I was amazed how different things looked over my DSS last night. The screening of the 2K print was beautiful. Blacks held up. Huge midrange. Whites did not clip. What I saw last night had pixelation. It's soooooo frustrating. I have several Panasonic plasma screens which I love but maybe I should get cable.
F
Click to expand...

PLEASE JARRED find a way to get Justified at 4K with proper .RED compression up on Odemax! Cover the cost of redoing any VFX at 4K that look sketchy uprezzed.

Call in favors or throw cash at Michael and have LightIRON re-conform, re-grade in wide gamut color and create proper .RED deliverables and put it up on Odemax. If I ever have another child I'll name him, or even her, Jarred...

Cheers - #19
 
Thanks again Francis and if I'm nearby I might take you up on that. =) Not sure what happens around NAB time. =))

Francis Kenny said:
Henrik. If you are around the LA area please come visit us.
We try and do some grading on set. We use Michael Cioni's Lilypad System. Basically it's a one lite. The beginning of season four was really screwed up. I'd get dailies back via internet and not be able to see anything. The first two weeks I lived with not having the Lilypad. We'd send twenty five cards to the post house not knowing the look. I objected to that workflow one month before we began shooting. Once our Lilypad operator arrived everything became normal. But it was insane not knowing.

Redcine is a very useful tool. We dial in a look on set but it's very basic because of the amount of footage. DaVinci System for post color correcting. I don't have a clue what happens to the image after it leaves the post house. I have this image of someone cranking up the image at 3am then sleeping during the transfer. But that's my imagination.

I was amazed how different things looked over my DSS last night. The screening of the 2K print was beautiful. Blacks held up. Huge midrange. Whites did not clip. What I saw last night had pixelation. It's soooooo frustrating. I have several Panasonic plasma screens which I love but maybe I should get cable.
F
Click to expand...
 
Hey Jarred -

As you know, I work very closely with Francis Kenny, ASC on Justified. Day in and day out your cameras deliver an outstanding image under every circumstance imaginable. You guys are clearly on the cutting edge of picture technology and I salute you, Jim and everyone else at Red for the efforts you make.

As you also know, the premiere screening of this season's first episode was held last Saturday night at Paramount. 800 people turned up to see it projected on the big screen - and the look exceeded even the sharpest of expectations. The comments that I received from many of them afterwards ranged from "...amazing" and "...fantastic" to "...incredible" and "...inspiring." Last night's broadcast of the same episode on FX Channel has so far brought in a host of similar raves. I trust that Francis, I and the rest of the team had a little something to do with that...but we wouldn't have been able to do it without your products and support.

Please keep fighting the good fight and always know that I can be counted among your most ardent enthusiasts!


Best -

Rich
 
That is awesome Richard, glad you guys are out there kicking ass making us look so good :)
 
Jarred -

By the way, "Hay Jarred" should've read, "HEY Jarred.". We can thank Francis for pointing that out.

Rich
 
"I'm not kissing ass. I'm giving credit to those gifted people who took on the dragon and won by listening to cinematographers."
- Francis Kenney

Strong words for a support system that deserves it. Francis is right. Before Red, I had not shot with any camera, film or digital, that didn't demand special attention. Even if it's just the AC fussing with a troublesome mag, these little issues distract from time better spent lighting. My Scarlet has been in use every week all year, from 0° - 100° environments, always reliable.

That's what I have Red to thank for: the 4.5 lb tank that just always works. Thanks Jim Jarred and everyone else for letting us focus on light.
 
Thanks Ryan. Love your recent work as well...
 
tv for the BIG screen! congrats to everyone involved in this project! one of my favorite shows - everything about it is just sooooo good..
 
An interesting thing we can see is that nowadays, and also thanks to Red, we are actually seeing better content produced for TV than for the Big Screen. Some of these TV series episodes look as good, if not better, than some big budget Big screen films- and have better narrative, too. Maybe the justified team could do a special "Motion Picture Cut" of the show for, say, future Odemax/redray projector enabled theatres?
 
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