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Reduser 4k Competition Winners!

Michael Millichamp

Michael Millichamp

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Hey guys,

I don't know if someone from Red or Light Iron is going to make an official post or not, but I thought these projects were too good not to share.

First place is Kenny Mosher. If anyone was at the Reduser party, you know exactly why he placed first. Breathtaking beautiful work.

https://vimeo.com/40549813

Second place is Me. It was an honor getting into the top 10, and winning second place was kind of shocking. Check it out.

https://vimeo.com/40549815

Third place was Brandon Lippard. He did an amazing job at capturing some epics moments. The macro photography and lighting were gorgeous.

https://vimeo.com/40551043

I hope everyone enjoys!
 
Last edited by a moderator:
I really enjoyed yours Michael! Very nice story. Congrats to the winners. Great to see them all on future tech.
 
Phil! Post yours up here when you can. We need to see all the top 10 finalists!
 
Hi Michael,
well done mate! excellent theme, excellent overall product. After watching all three, I give you the first place because the first one don't have enough motion close ups. too long distant still shots(sort of) looks and very hard to understand the theme. good look and all the best in the future.
what did you use for post? i mean software and hard ware components?
 
Dave_S said:
Hi Michael,
well done mate! excellent theme, excellent overall product. After watching all three, I give you the first place because the first one don't have enough motion close ups. too long distant still shots(sort of) looks and very hard to understand the theme. good look and all the best in the future.
what did you use for post? i mean software and hard ware components?
Click to expand...

For post I literally stayed all in the Adobe suite.

I think Phil might have done this as well.

I first shot the material, then dumped it onto my computer (custom built gaming computer) and then started up a 4k timeline and went to work. In PPro you can literally color grade your R3D files their through source settings, so we did that after we got the cut done, then sent the project to AE where we did some fine tuning CC, then we did some sharpening. I think we over did the sharpening on some things, but now we learned. Then after we finished, we exported out to 4k dpx's and sent the hard drive off to Light Iron.

It was actually pretty easy once you got the hang of it. The only thing that I couldn't do on my computer was throw the AE Sequence in PPro and render it out and watch it. For some reason that Dynamic Link just didn't work out.

I bet Phil can give some insight on what he did as well!
 
thanks Michael, yes Phil is very helpful and specially for amateur people like me you guys are like a Bible.
so, is premiere pro good enough for cinema display? is ppro 8 bit or 10 bit(i mean to export), i am planning to shoot 4k(scarlet x camera), color grade/correction in 4k and export as 2k for digital cinema projection. they say uncompressed quicktime is one of the best export option but I am not sure whats the best export option using ppro for 2k digital cinema projection.
thanks guys.
 
or i'll have to use red cine x pro to export projects for 2k cinema display?
 
Dave_S said:
thanks Michael, yes Phil is very helpful and specially for amateur people like me you guys are like a Bible.
so, is premiere pro good enough for cinema display? is ppro 8 bit or 10 bit(i mean to export), i am planning to shoot 4k(scarlet x camera), color grade/correction in 4k and export as 2k for digital cinema projection. they say uncompressed quicktime is one of the best export option but I am not sure whats the best export option using ppro for 2k digital cinema projection.
thanks guys.
Click to expand...

I honestly didn't know how to export a uncompressed quicktime and I was so busy and rushed to get the project out, i didn't want to try and learn. So DPX files was the way to go. Im pretty sure I exported a 10 bit instead of 8 bit.
 
i tried dpx once and what i got in export folder was about 100's of small files which i could not open. what exactly are the steps involved to export as dpx in ppro from time line?
once exported as dpx to hard drive do we need to do something else so that it can be projected in 2k cinemas?
 
Thanks Michael. I really enjoyed your winning entry. What a great experience! Awesome entries and nice people:) I'm so glad to be a part of it. It was just stunning seeing it on a 152" 4K monitor too...

I'm new to RED as of last October. Shoot mainly tv shows and promos. Until this competition, I've never completed a turn key 4K project. First time in Premiere. First DPX.
We made a lot of mistakes encoding and file this and that. Learned sooooooooo much! Better off for it. I believe in RED and the power of RAW now. Redcine X was so much fun to play with. Thanks guys! Can't wait for the next one!

https://vimeo.com/39683690
 
Dave_S said:
i tried dpx once and what i got in export folder was about 100's of small files which i could not open. what exactly are the steps involved to export as dpx in ppro from time line?
once exported as dpx to hard drive do we need to do something else so that it can be projected in 2k cinemas?
Click to expand...

They export basically still frames of all you movie. Then you open them up in AE by batch selecting them all and then making a dpx sequence.
 
Michael, I thought your piece was spectacular. Any chance you'd want to share the lighting and camera setup (lens, focal length and aperture) for the monochromatic shots of the face and eye... really great capture there. The other portions and feel eminded me of Malick's Tree of Life.
 
Andy Roberts said:
Michael, I thought your piece was spectacular. Any chance you'd want to share the lighting and camera setup (lens, focal length and aperture) for the monochromatic shots of the face and eye... really great capture there. The other portions and feel eminded me of Malick's Tree of Life.
Click to expand...

Oh lord. Let me see if I remember. I was soooo rushed for most of it.

The close ups of the Old man and his eye were shot on an old 55 Macro Nikkor lens at about a 4/5.6.

The shots of his face were shot on a 50 CP.2 at a 4/5.6

And the wides, I feel like we scooted back and kept the 50 on, but something tells me we switched to a 28 Nikkor.

Lenses: http://www.bhphotovideo.com/bnh/controller/home?O=productlist&sku=36925&is=USA&A=details&Q=
http://www.mellodigital.com/productdetail.asp?productid=4695&refid=goog
http://www.bhphotovideo.com/c/product/810883-REG/Zeiss_1907_601_Compact_Prime_CP_2_50.html

Those were the lenses used for the Black and White shots.

Most of the work was shot with the 50 CP.2
 
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