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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 in OZ

Any Melbourne DoP's with a Red on order?

I have screenplays (LA comp finalist x3) ready to go and some links to financing and can't wait to join this revolution. Having worked at Blackmagic Design I'm already a beret-wearing revolutionary - let's go!

Cheers
Bettsy
 
bettsy said:
Any Melbourne DoP's with a Red on order?

I have screenplays (LA comp finalist x3) ready to go and some links to financing and can't wait to join this revolution. Having worked at Blackmagic Design I'm already a beret-wearing revolutionary - let's go!

Cheers
Bettsy
Click to expand...

Shame your not in Perth Bettsy
 
Bettsy

Got one coming to Melbourne but I don't expect delivery until Sept/Oct. Also have access to another (roughly the same delivery time) if you need A-B setups. If this fits in with your timeframe, PM me and we'll chat.

Cheers

Cam
 
bettsy said:
Any Melbourne DoP's with a Red on order?

I have screenplays (LA comp finalist x3) ready to go and some links to financing and can't wait to join this revolution. Having worked at Blackmagic Design I'm already a beret-wearing revolutionary - let's go!

Cheers
Bettsy
Click to expand...

Order no: 179 here Bettsy in Melbourne. You can PM me if you like.


cheers
nalu
 
Seth Larney said:
I'll definetally stay in touch with everybody here as I'm very interested in developing a bit of a family with fellow innovators. As we all know, our industry is very small, we have to stick together !
Click to expand...

Hi all... same here...

I work in Post at Lemac and we are down for 2 of the early ones (I'm not 100% sure what order number we have) and will certainly be keeping in touch on here in relation to the Red workflow etc.

-Tim

www.lemac.com.au
 
Nice to finally hear from you, Tim :)

Shoot David Farland an email and hop on the as-yet unnamed users group contact list, it'd be good to have you on board, I think.
 
Review of Ted talk & filming of 'Crossing the Line' at AFTRS (Sydney)

Review of Ted talk & filming of 'Crossing the Line' at AFTRS (Sydney)

All,
Went to the ACS (Aust. Cinematographers Society) demonstration night at AFTRS (AustralianFilm & TelevisionSchool) last night (Friday). As you may know it was the SMPTE 07 conference in Sydney last week and Apple had brought out Ted Schilowitz (Red Ted).

Quite a few people turned up early. Unfortunately name tags had only ‘guest’ so missed out in meeting some local Red enthusiasts. Be great to know who else where there, Anyone?
Went into the hall and sat down with a non-working version of the Red camera/18-50 lens sitting on the stage.

David Wakeley opened the night mentioning the agenda would be: 1. Red camera & 2. Red workflow.
He then thanked Alan Butterfield – AFTRS (projectionist), Mike Seymore (fxguide) & Ray Calford (Sony Tech).
The room sits about 220 and if all the people standing, sat down, I say it would have been filled.
Ted asked how may have got a Red on order – and about 1/3 of room puts their hands up.
He started by saying the Mysterium sensor is key to all and they have a special sensor team and have their own intellectual property rights on the sensor.
“The camera is very much like a digital still camera that happens to shoot motion pictures.”
Their logic to build the sensor was the same approach you would have in building a digital still sensor.
He went on discuss the basic sensor specifications i.e. S35, 12meg etc. Then talked about the progress of how digital still camera have overtaken film still cameras and started on specifications: Dynamic range of 11 stops. Rated at 250 ASA at the no noise floor, 1-60fps @ 4K, 1-120fps @ 2K windowed, weight 9lbs, i/o posts etc.

In the near future Red expects to eclipse the DR of some film stocks.

He showed various stills of Red including the latest ‘Bad Ass’ photo still.
He talked about Red also have optics division which are producing: 18-50mm T3, Full set of primes,300mm telephoto, 50-150mm lens. Went on to discuss frame rates/files sizes of uncompressed/raw file sizes and Redcode wavelet based compression. Then recording media – hard drive/ express & compact flash media.

Mentioned Red went to Apple and asked if they’d collaborate with Red with a post production solution. Discussed Red native ingest & ProRes 4:2:2 (for HD) and also mentioned that Assimilate had a hand in helping Red develop RedCine. He also gave a demo of RedCine.
He said a special version of FCP, which will recognize the Red camera footage in a couple of months.

Okay, as an introduction to ‘Crossing the line’ he talked about how Peter Jackson came to make the short……
About 7 months ago Ted got a phone call from PJ who said he didn’t want anything special but if you needed help testing, then Peter would be available, no strings attached.
Peter said he was gonna be in LA in a few weeks and if Red could set up a screening for him and his team, that’ll be great.. They showed footage from Frankie(?) of Redcine compressed and uncompressed images, PJ & his team all guessed wrong to what was the compressed version and what was uncompressed.
Moving on, about a month before NAB 07, Red asked PJ if they’d like to shoot some test footage for Red. PJ said if they came to NZ he’d be happy to shoot some test footage. Jim & co then went with their 2 prototypes to Wellington, NZ.

He mentioned Red went to Apple and asked if they’d collaborate with Red in post production. Discussed Red native ingest & ProRes 4:2:2 (for HD) and also mentioned Assimilate had a hand in helping Red develop RedCine. Gave a little demo of RedCine. Mentioned that special version of FCP, which will recognize the Red camera/footage will be out in a couple of months.

They then showed the footage of ‘Crossing the Line’. The footage was ProRes2K playing off a Mac with FCP. Look nice, clean, warmish.
The movie was shot in 2 days on 500MB, in the dirt, in the air with helicopter. He said the aerial footage was shot in a couple of hours, where normally it would take weeks……..where the 2 planes & helicopter would need to be lined up, you’d then shoot one film magazine, come down, reload and start again. He then went on to describe post production: editorial on FCP in 2 days, sound in 2 days, finished in 2 days on 4K Pablo. The footage was 2K playing off a Mac with FCP. Mike Seymour talked of online Red training and introduced Lucas Wilson. Lucas talked about Scratch and its native Red support. He gave a good/funny PowerPoint presentation showing traditional off/online workflow and then showed a Red/Assimilate easy workflow. He then gave short walk-through of 3 workflows.
One using FCP/Color, one using Scratch and typical on/offline/dpx process and another using native Redcode in FCP, Redcine, Scratch. Scratch looked very easy, fast and intuitive. He mentioned Scratch renders 4K @10 frame/sec. The room was opened up for questions while Scratch demonstration was setup.

Pause:

I’ll post Part 2 (question & answers time) when I get back tonight. (Oz time).

Real sorry not to have it all in one post but 5 young kids are just waiting to see the Transformer movie up the road...Bondi Junction.

Cheers,
David
 
Hey David,
Thanks a lot for the detailed post/s. Good to meet you last night.
 
Thanks for taking the time to bring us up to speed with the first half. Much appreciated!
 
We trashed the Transformer theatre with popcorn.

Now, back to Part 2.

The room was open for questions to Ted while the Lucas etc setup the Scratch demonstration.

Q1. How noisy is the camera? About ~20db. When the camera is in standby the fans will stay on. When you hit record, the fans stop. If the camera gets too hot, it will turn the fans slowly on during takes. It also has a band pass filter for fan noise.

Q2. How do you clean the sensor? Sensor is covered by low pass filter. Could see dirt on LPF in ‘Crossing the Line’. Use special photography swabs/cleaning kits (freely available) on low pass filter.

Q3. What will be the lead time on ordering camera in the future? Ted started with reservation process. Start shipping in late August 07. Try to deliver 1500 camera in 9 mths. If you order now, the lead time will be about 9/10 mths. He said that now was a good time to order because there will probably be an ordering surge once the camera starts shipping.

Q4. Service centre plans? Ted: There will be service places to go in roughly same time zone. Though in the beginning everything it will be back to depot. An advantage is, Red can find out directly what the early issues are.

Q5. Have you seen film outs of Red footage? Ted said he goes to Park Road, Wellington NZ tomorrow to see regraded footage. Peter Jackson has re-graded ‘Crossing the Line’ and says the film out looks excellent. They have done a film out which Ted will see in the next couple of days. Did a screening at EGA in LA with Mark Neveldine?, director of ‘Crank’. Looked at some film out test footage they shot. Ted's impression of the test footage was it was locked, pristine, cool, digital technology. They then looked at a 35mm film out of the footage and thought it looked old school. Looked at a ProRes and were also impressed. Falloff is very film like.

Lucas then talked about Redcine. RedCine has 4 views on LHS: project, shot, color & output.
Project: Library has a directory structure of scene & takes where you can scrub through. Timeline along the bottom lets you see you different takes.
Shot: Metadata appears in separate window.
Color: Pick a white balance, exposures, color. Anything you do in Redcine can be saved and ported to camera. Everything you do in the camera will be sent to Redcine as metadata. Lives as non-destructive data. Talked of cumbersome LUT work and how RedCine was so much better.
Output: Can downrez to a dozen resolutions.

Lucas then gave a demo of Scratch playing native Redcode. It had shapes, power windows, curves, tracking etc.

Audience then asked more questions.

Q6. What are the rendering times? Lucas: Taking NAB 07 Red compression rates, Scratch will render out 4K DPX files at 10fps and 1K DPX at faster than real-time.

Q7. Red audio? Ted: Its 4 channel 24bit. People are using camera like a typical film camera with separate audio. Not sure if the first camera will have audio enabled. If not it will be a firmware update.

Weight of camera? Weighs 9 lbs. Demo rig with 18-50 lens and basic production weighted ~20lbs.

Q8. What’s the camera’s reference color temp? Daylight balanced to 5000 Kelvin.

Then there was a little discussion on DCT/wavelet/mpeg codecs.

Q9. Is the camera upgradeable? Some parts i.e. sensor could be upgraded in future.

Q10. What is the Power drain of camera? 12volts /140WH battery. Will run the camera for approx 90mins. He haven’t seen an HMI etc flicker yet.

Q11. What is Red’s low light capacity? Did some test in the middle of night outside Red headquarters. Light meter was showing 0~0.6.They did a comparison with Arri/500 asa Vision stock. Vision was pretty grainy. Red had wonderful, usable images with very little noise.

Q12. Beside FCP, what other vendors have Red been collaborating with? No collaborations, but they are in discussions with very interested parties.

Q13. Redcine is windows & OSX.

Q14. Can anyone other than Dalsa make an uncompressed capture device? Ted: The Dalsa Codex capture box is just one of the ‘fridge’ capture solutions available. Anyone can get the specifications of the fibre port from Red and if they have the smarts, build their own capture box.

Q15. Who makes the lenses? Ted: We have partners. If you know optics and you know lenses, these were made in the England. Grin…….

The camera and discussions then moved into the foyer for 30mins.

Very nice talk.

Cheers,
 
david farland said:
Q7. Red audio? Ted: Its 4 channel 24bit. People are using camera like a typical film camera with separate audio. Not sure if the first camera will have audio enabled. If not it will be a firmware update.
Click to expand...

Is that what Ted said? Possibly no audio in the first shipping Cameras?

Hopefully they can get it worked out. I know we sure would love to test the Audio at LART.
 
Hey David, thanks for the great review of the night.

I was sitting just in front and left of you. Sorry I didn't get a chance to say hello. I've written my own review over at www.redanz.net as well. Wondering if you mind if I post a copy of yours over there as well ?

Cheers,
Seth.
 
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