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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 :)

Red Footage from the booth?

I remember seeing some Ringo shots in there Manny. There may have also been other shots from your camera. Cool stuff...
 
Sorry guys, lost my question three pages before...
Anyone notice some shots from my "tribute" on the big screen?
(Still lifes of a Redone camera, black background).

My best, Elcurado
 
for sure, it was the last shots of the reel...great job!
 
Elcurado said:
Sorry guys, lost my question three pages before...
Anyone notice some shots from my "tribute" on the big screen?
(Still lifes of a Redone camera, black background).

My best, Elcurado
Click to expand...

Yes, confirmed, it was the last, congratulations!
 
Elcurado said:
Sorry guys, lost my question three pages before...
Anyone notice some shots from my "tribute" on the big screen?
(Still lifes of a Redone camera, black background).

My best, Elcurado
Click to expand...

On Page 2 of this thread - toward the bottom of my Post #19 - I confirmed for you that your shots of RED were included.

Nice work...
 
Gibby said:
On Page 2 of this thread - toward the bottom of my Post #19 - I confirmed for you that your shots of RED were included.

Nice work...
Click to expand...

Ops, sorry, didn't noticed...

Thanks!
 
So was all that footage from RED cameras only? The reason I ask,
last year I saw the demo for Panasonic that was shown on the 100"
plasmas. I asked a rep if all that footage was shot with Panasonic cameras
and they assured me it was.....upon further research, much of the footage
was from stock sources that I know were shot with Sony HDCAM's or DSLR's in timelapse mode.
 
Yes, I can say without any hesitation whatsoever that ALL the footage in the Red 100 was 100% Red One footage. About 80% 4K, 19% 2K and I think there were 1 or 2 shots that were 3K.
For those who are interested, I prefer to edit with the H.mov QT reference movies, not ProRes transcodes. I know there is a lot of discussion on this issue, but the reason I like camera-generated QT movies is because it makes it easier to do a rapid 4K finish (this with regard to data conforming EDL file naming conventions). Plus, I have a 4GB fiber XSAN network, so working with the 2K reference movies does not affect system performance, as I am aware it does via FW or SATA, etc.
I know a lot of you know this already, but it never hurts to reiterate... -But the workflow for the Red Reel and dozens of subsequent Red projects posted at PlasterCITY are as follows:
• 2 FW800 on-set backups of R3Ds
(Now modification to folder structures whatsoever. ***Changing the file directory paths will affect important metadata required to use FCP L&T and Scratch conforming, etc).
• LTO3 backups of the media at PlasterCITY for long-term archives
• Generate a FileMaker Pro database of the LTO logs
• Offline using H.mov's in FCP (8Core intel, 4GB Ram max.)
• Export EDL to Assimilate Scratch on the BOXX
• Re-link R3D files from XSAN re-shared to Scratch over GigE
• Conform in 4K with MPG4 QT Reference movie
• Export 10bit DPX files to Quantel Pablo (Log)
•*Color Correct 709 or P3 on a Christie CP2000 using Pablo (Lin)
• Process out DPX final files along with 10bit QTs, ProRes, etc (Lin)

That's how we do Red projects at PlasterCITY. And again, 100% of the elements in the reel were from Red 2K, 3K and 4K. In fact, we let Scratch do the 4K logarithmic up-conversion so all the DPX files are 4K as they go into Pablo. It's always great to see these files intercut since all these resolutions hold up really well on both big and small screens.
best,
michael cioni
 
Michael_PlasterCITY said:
• LTO3 backups of the media at PlasterCITY for long-term archives
• Generate a FileMaker Pro database of the LTO logs
• Offline using H.mov's in FCP (8Core intel, 4GB Ram max.)
• Export EDL to Assimilate Scratch on the BOXX
• Re-link R3D files from XSAN re-shared to Scratch over GigE
• Conform in 4K with MPG4 QT Reference movie
• Export 10bit DPX files to Quantel Pablo (Log)
•*Color Correct 709 or P3 on a Christie CP2000 using Pablo (Lin)
• Process out DPX final files along with 10bit QTs, ProRes, etc (Lin)

That's how we do Red projects at PlasterCITY.
michael cioni
Click to expand...
Michael, 2 questions for you. 1, what are you guys using for your physical long-term storage of your LTO's (vault, something else)? And 2, any chance of getting some version of "Shot on Red" for download?

And yes, the footage was all red. Michael obviously knows more than I do, but I remember seeing a large portion of the shots in the reel in the Footage section when the cameras were being released. If you are ever bored, you can scour that forum and find the footage. But I'd just take our word for it. Anyway, hope to see a downloadable version. :ohmy:
 
Gibby said:
I personally shot several of the shots used in "Shot on RED" - sports, beach scenes, waves, other nature shots....
Click to expand...

Steve, there was an awesome mountain shot, with clouds frosting the peaks, I think it was the Tetons, was that yours? If so, any metadata or stories you can share? Out of all the shots I saw, that's the one that haunts me.

Phil
www.artbeats.com
 
If you mean the one with the cross country skier in the foreground - I shot that in Klosters, Switzerland. (Featured on the Mammoth pages - together with the watch footage on http://www.mammothhd.com/XRED1/REDL17/MHD_REDL17.html

Anyway, thank you for all that compliments. To think that last year I was glued to reduser for every little Peter Jackson frame showing up online - and this year to have some shots in the Red reel.....

(Some selfpromotion: I´ve posted some frames of my last short "Women, Jazz and Shoes" in the New Footage section)

Jochen
 
Red Storage

Red Storage

Strongbad_2Z said:
Michael, 2 questions for you. 1, what are you guys using for your physical long-term storage of your LTO's (vault, something else)? And 2, any chance of getting some version of "Shot on Red" for download?

Strongbad,
The way we store dailies is 400GB LTO3 tapes. These hold around 4 hours of 4K RedCode and we can create FileMaker databases that follow the digital negative.
Once completed, we backup the color timed DPX files (2K or 4K) on DLT-S4 tapes. These hold around 800GBs uncompressed (1.4TBs compressed) and make a great long-term storage archive for 6 reel films.
Upon completion, we take those DLT and LTO tapes to Point360 where we can have them safely vaulted for as long as necessary for a good price. But I should clarify that PlasterCITY won't hold archived media after a project has been delivered.
michael
Click to expand...
 
As far as downloading the reel online, sorry. Only limited permission was obtained to show clips in the reel and some of the footage in the reel has yet to be released.
This early in the game, it is important that 4K demo media that went through a DI is screened in proper viewing environments. As you know, there are a lot of people out there who have yet to become believers and sometimes evaluating compressed media online yields negative results that opens the RedCode codec up to unfair criticism. I, myself, would love to get this footage out to everyone to see how it looks as H.264, but the licensing is a nightmare and we'll all likely have to spend a month explaining our way out of the mess made by an H.264 8bit banding sky.
bummer, I know.
michael
 
Phil Bates said:
Steve, there was an awesome mountain shot, with clouds frosting the peaks, I think it was the Tetons, was that yours? If so, any metadata or stories you can share? Out of all the shots I saw, that's the one that haunts me.

Phil
www.artbeats.com
Click to expand...

Thank you for the kind words Phil. Seeing that scene in person before, during, and after shooting it, was a moving experience.

The shot with the craggy mountain peaks, with veils of mist rolling by, was one of my shots in the reel (not the shot with skier in the frame - BTW that was an excellent shot Josch). Good eye Phil - my shot you mentioned was of the Grand Tetons. This last October I attended the Jackson Hole Wildlife Film Festival. I took RED #8 along with me, knowing I'd get away from the festival several times to shoot stock. Clark Dunbar has shot the Jackson Hole area many times, and graciously agreed to be my guide.

One stormy day, with fronts passing through the area that left gaps of sunlight, we headed out into the wilderness. I was using a RED 18-50 zoom (at times using a Century 2x with it), a RED 300mm, and a Miller Arrow 55 tripod - all of which I personally backpacked in for the shooting. You know how Jackson Hole is - there are shots everywhere. Amazing place! I shot fall colors (red & orange leaves), gushing rivers, a spectacular little lake, and the jagged peaks around the valley.

For that peak/mist shot we hiked way down a trail by a small lake. The cloud systems were moving swiftly by the mountain peaks, raking them with layers of light, and leaving soft, ever-changing bands of cotton-like mist on the peaks - the peaks/mist had a very ethereal, primordial look. I shot several sequences of that quickly before the rain system closed in on us. - then we covered up the camera and ourselves quickly with rain gear as a 15 minute rain cell pelted us - and hiked on to get some more shots.

As I remember, the shot was on one of the first RED builds to enable the 16x9 aspect ratio. That day, since it was going to be scenics (no fast moving wildlife) everything I shot was 4k/16x9/23.98fps @ 1/48 second. I quickly sight focused all the shots that day and exposed them quickly using zebra.

IMO if a shooter plans their kit well, and is physically fit, then RED ONE is well suited for single person and small mobile crew remote shooting. At times I shoot a lot of non-natural world subjects, but it's such a euphoric feeling to hike out into the raw elements with a good camera system and capture some dynamic images. That type of shooting is full of challenges - but there's nothing quite like the feeling it brings!
 
Michael_PlasterCITY said:
As far as downloading the reel online, sorry. Only limited permission was obtained to show clips in the reel and some of the footage in the reel has yet to be released.
michael
Click to expand...
Michael, thanks for your feedback. I figured as much on the reel, but it was worth asking anyway. So at PlasterCITY, when a project is over you don't store the raw footage anymore? Do you do any sort of archiving of past projects or do you just wash your hands entirely when its done? It would seem that some sort of archive would need to be kept just in case a client wants to revisit a project. Of course, they'll have to pay to bring it back online and such, but the option is there. No?
 
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