So... how do I do it?

[Jannard]

David Fincher said "I choose RED over film" and is shooting "The Girl with the Dragon Tattoo" on RED. Peter Jackson said "RED looks like 65mm film"... and is shooting "The Hobbit" on EPICs. John Schwartzman is shooting "The Amazing Spider-man" on EPICs in 3D. Dariusz Wolski shot "Pirates 4" on RED and chose RED again for Ridley Scott's "Prometheus". "The Social Network" was given an Academy nomination for Best Cinematography. Steven Soderbergh has chosen RED for 6 straight films. "Jack the Giant Killer" and "Underworld 4" are currently shooting RED.

These guys have shot film most of their careers and have done side by side testing of all the latest digital offerings. Yet they are now shooting RED. What is it that they know?

Forget the story, actors, set design, wardrobe, and makeup for a minute. What they know is what an image should look like. None of these guys will compromise the image for anything... their reputation and finished product depends on the best image they can make.

So... why RED? They all have the budget to shoot anything they want. What do they know that us mortals don't?

1. They understand dynamic range, resolution... and "feel" of an image. All matter in combination.

2. They understand that their final product is headed for the "big screen". What resolution might be "good enough" for a 42" screen today may not be good enough for a 40' screen. And what is good enough for today's home theater may quickly change.

3. They have figured out the best way to get the best results from RED footage... more on this below.

4. They appreciate the value of on set feedback and have a good "hourlies" workflow.

5. They understand the value of shooting RAW and the flexibility it gives them for a final grade.

6. They understand lighting and how that effects the final image. Lighting... what separates the men from the boys.

So how do they get the very best image from RED?

They stay in REDCODE RAW as long as possible. Whether you use REDCINE-X or Pablo, stay in REDCODE RAW until the very end. Don't make DPX files 1st and then grade. Limiting the color space, range and white balance right off the bat is not a good thing. Don't do it. This is true if the final output is a DCP package or a film print. For VFX... use Log space and 16 bit EXRs. The very LAST thing you should do for a DCP output is make DPX files.

The pros know how to light and expose. If you have aspirations to make great images... learn these two thing 1st. There is no longer an excuse to blame the equipment. Too many great looking features have been Shot on RED. If your stuff doesn't look right, you are doing something wrong. Ask for help.

We are proud of the big projects being shot on RED... the biggest projects actually. We are just as proud to be able to put RED in the hands of many aspiring cinematographers. We are here to help you learn the craft. There is no mystery... just hard work and a lot of info to be learned.

Now... back to the story, actors, set design, wardrobe and makeup.

Jim

 

[M Olsen]

Eloquently and succintly put, Jim.

 

[shashbugu]

Well Said!

 

[shashbugu]

They stay in REDCODE RAW as long as possible. Whether you use REDCINE-X or Pablo, stay in REDCODE RAW until the very end. Don't make DPX files 1st and then grade. Limiting the color space, range and white balance right off the bat is not a good thing. Don't do it. This is true if the final output is a DCP package or a film print. For VFX... use Log space and 16 bit EXRs. The very LAST thing you should do for a DCP output is make DPX files.



Jim

Well the most important part of the image chain is what most people don't have experience with. Forget the the top Hollywood brass for a moment, and think about the desktop crowd for a second. We make up the the bulk of the tens of thousands of Red users. Information about log is not readily available. I had to the learn the hard way after years of Red usage, now all my footage revisited just shines exquisitely. The lighting, lensing, placings, scripting etc is very widely available knowledge, but getting the knowledge of getting the very best out of Red colorspaces is based on experience.

 

[scott william]

it's true. exposing an image is not as easy as you may think. i'd like to learn all your tips?

 

[AnthonyFlores]

Damn, I wish I had written this. Really well put and will have even more meaning as I start to tackle the challenge of wielding such a powerfully "epic" weapon.

Also, I agree that given how great the really pro stuff looks on Red compared to others, definitely reinforces what you say.

That's why I hope there's more than one Reducation this year

Thanks Jim.

Anthony

 

[Jannard]

So here is the secret... stay in RAW. Open with REDcolor2 and REDlogFilm or REDgamma2. Grade the crap out of it. Then output whatever you need. Do this in any number of apps that support the SDK. Pretty easy stuff.

People get lost by transcoding to an RGB codec (usually DPX) too early on in the process.

If you are going to output to film, a film print LUT is the very last thing to do. If you are not sure what to do at this point... call Michael.

Jim

 

[scott william]

it is true to say that when you grade away from redcolor you lose DR? not saying that is a problem but am i correct in thinking redcolor is displaying the most information in the image?

 

[Brad Allen]

Hi Jim (and fellow redusers),

Lighting is something I always want to learn more about, just wondering if you have any top recommendations for learning good lighting techniques. I know there are an abundance of "good" courses around, but honestly I find a huge amount of them just look cheesy and unnatural. What would you recommend for learning how to light in a way you would be enjoy watching in a cinema? Any pointers towards where I would find this knowledge would be received with open arms!

 

[Jannard]

it is true to say that when you grade away from redcolor you lose DR? not saying that is a problem but am i correct in thinking redcolor is displaying the most information in the image?

The problem is that people lock into a DPX file with less than full DR available in the RAW file. If you do that, you will NEVER get it back.

Stuff that you thought was clipped is actually still in the RAW file. Find it before committing to a transcode.

Better still... come to REDucation.

Jim

 

[Corrado Silveri]

Amen to this, and thanks as usual, Jim.

For all of you out there who take advantage of Quantel products, I am successfully using the new "soft mount" feature for RED materials. Not yet EPIC ready, but sweet!
Redcolor2 / redlogfilm is a must.

 

[Jannard]

Not so secret #2... use exposure check to make sure you haven't clipped anything in camera. If your original isn't clipped and you grade in RAW... you are golden.

Jim

 

[George Tsai]

speaking of "The Girl with the Dragon Tattoo", reminded me of the girl in the beginning of your "Tattoo" short that looked just like the character Lisbeth... just that or perhaps it was Rooney herself (didnt read the credits close enough haha)? hehe

 

[scott william]

What i have learnt is that by lighting a slightly flater image you have more room to push and pull it in the grade. Maybe everyone knows that already but doing it is another story.

PS: where can i download the tattoo film?

 

[Jannard]

We will have permission (or not) to post "Tattoo" later this week.

Jim

 

[Franck De Togni]

Jim, I really liked your post ! And That's funny, cause I was talking with an old photographer this week-end, who was specialized in lightings effects. He told me exactely the same: Learn everything you could about how to use lights, then you'll begin making the beautiful images that you want.

 

[shashbugu]

We will have permission (or not) to post "Tattoo" later this week.

Jim

Oh cool! I really want to watch it. Are there any behind the scenes docus? I just want to see Jarred working it.

 

[Stephen Gentle]

They stay in REDCODE RAW as long as possible. Whether you use REDCINE-X or Pablo, stay in REDCODE RAW until the very end. Don't make DPX files 1st and then grade. Limiting the color space, range and white balance right off the bat is not a good thing. Don't do it. This is true if the final output is a DCP package or a film print. For VFX... use Log space and 16 bit EXRs. The very LAST thing you should do for a DCP output is make DPX files.

Great to have this written down here. People who do camera comparisons involving RED seem to try their hardest to use whatever workflow that will restrict them the most in post...

We will have permission (or not) to post "Tattoo" later this week.

I hope you get it! Can't wait to see the piece.

 

[Subhadip Sen]

The whole idea of transcoding (to a lossy codec and/or a stretched colorspace) before the final master has stayed alive far too long thanks to inefficient software and archaic workflows.

 

[Shane Betts]

Thank you so much Jim. Stay in RAW as long as possible has been my mantra for two years and I must say I lock horns with folk over it all the time. It makes perfect sense.