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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 :)

Monitoring and transfering options

I

Irri

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I was just wondering what people are using these days...

Shooting in Redspace, shooting in REC709. Looking at files in redcine as redspace/redspace, camera rbg/REC709, REC709/REC709?

What do you use?
 
Irri said:
I was just wondering what people are using these days...

Shooting in Redspace, shooting in REC709. Looking at files in redcine as redspace/redspace, camera rbg/REC709, REC709/REC709?

What do you use?
Click to expand...

hit default.
then Use Camera RGB & Rec 709 in that order.

grade

Make new Quick times..

done.:biggrin:
 
Sorry, sorry, it's a little cryptic !
Would you care to develop ?
Thanks.
 
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What are the defaults? I can't be bothered to do it then set up the camera how I like it.
 
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Okay, you answered half the question...
You transfer REC709/CameraRBG
What do you monitor when shooting?
 
A lot of people still shot RED as if it's a video camera.
Big no no.
On set monitoring you should treat as if it's just a FILM CAMERA split.

Don't worry about in camera grading.
Just use the monitors for content and exposure only.
Your onboard monitors leave as normal so you can set the correct exposure.
Your HD or HDSDI or SDI monitors for the clients, GRADE THOSE FOR THEM.

RED SPACE was designed to make your images look good on your on set monitors and to give your QT's a little bit of grade...

This RED ALERT setting I've given you is just so you can grade a shot in RED CINE, get it into FCP and it looks the same.

That is all.
 
CrewPix.com said:
Do you still use CameraRGB even on Build 16 with Redspace available? The combo of Redspace/Redspace in Redrushes seems like it would be a better starting point for most people.
Click to expand...

REDSPACE is ok for monitoring... that is all, Sometimes you can jag a good look in your QT's, but 9 times out of 10, they don't look like what you were looking at on set anyway.

This RED ALERT setting I've given you is just so you can grade what you want and then reconnect media in FCP and it remains the same looks as you had in RED ALERT.
 
Let me rephrase the question.

1) What do you set exposure with on set? Redspace, REC709, RAW or a mix?

2) What format do you use to export from RA, RC or to grade your proxies (regardless of destination).

An example answer might look like this:

On set I view REC709, but check the highlights with the raw view.
I transfer REC709/Camera RGB.
 
Irri said:
Let me rephrase the question.

1) What do you set exposure with on set? Redspace, REC709, RAW or a mix?

2) What format do you use to export from RA, RC or to grade your proxies (regardless of destination).

An example answer might look like this:

On set I view REC709, but check the highlights with the raw view.
I transfer REC709/Camera RGB.
Click to expand...

1) We expose on set REC 709 and some times REDSPACE no big difference to us.
We don't shoot for a LOOK on set, only exposure and content oh and set a very basic white balance.

2) I transfer as My little diagram shows, Camera RGB . REC 709 and make new Quicktime proxies to go back into my FCP edit or sometimes I RENDER out from RED ALERT PRO RES (HQ) using the same settings to go back into my FCP edit.

I cannot make it any simpler than that.
 
CrewPix.com said:
Do you still use CameraRGB even on Build 16 with Redspace available? The combo of Redspace/Redspace in Redrushes seems like it would be a better starting point for most people.
Click to expand...

Thing is, I don't want to render anything, RENDER is a dirty time consuming word to me. It's one reason why I bought RED in the first place and so far so good.

The only time I will RENDER anything out is when I finish my cut. Once I grade a few shots in RED ALERT, rendering out a 60 second commercial in FCP takes about 3 min's. Done. finished.

Waiting a day or more for 2 to 3 hours of footage to render out to 2k pro res in RED RUSHES and then being stuck in 10 bit apple land with grades you will never keep is not my way of being productive.

That said, I'm only sharing one of 10 ways to skin a cat. This is probably the fastest, least time consuming and most accurate is all.

But it may not be for everyone. It will not suit feature films, It's more suited to the TVC market.
HD is all we work in, SD majority of the time.

End of the day, I was just sharing some very useful RED ALERT settings to help people get what they see in RED ALERT into FCP and still look the same.
 
I think what Big T says sounds just about right, similar to what I've been doing, plus, his footage looks amazing and proves he knows what he's doing.
 
Big T said:
Thing is, I don't want to render anything, RENDER is a dirty time consuming word to me. It's one reason why I bought RED in the first place and so far so good.

The only time I will RENDER anything out is when I finish my cut. Once I grade a few shots in RED ALERT, rendering out a 60 second commercial in FCP takes about 3 min's. Done. finished.

Waiting a day or more for 2 to 3 hours of footage to render out to 2k pro res in RED RUSHES and then being stuck in 10 bit apple land with grades you will never keep is not my way of being productive.

That said, I'm only sharing one of 10 ways to skin a cat. This is probably the fastest, least time consuming and most accurate is all.

But it may not be for everyone. It will not suit feature films, It's more suited to the TVC market.
HD is all we work in, SD majority of the time.

End of the day, I was just sharing some very useful RED ALERT settings to help people get what they see in RED ALERT into FCP and still look the same.
Click to expand...


Thank's for sharing big T,

Very interesting post for me. It is more clear for me now (sorry for my english).

Olivier
 
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