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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 :)

Surprise...

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unbelievable! You guys are fantastic! Compliments to all the contributors!

If I was di Caprio I wouldn't wanna get shot on anything other than Red. And the snake... and the massai...

what would be great to know is the optics used for each of the shots...

keep up the good work!

cheers, Fritz
 
I believe the tool they used to grade this was a Colorist :cool:
Paulo Emílio said:
Which tool did they use for color grading ? Scrach ? Pablo ? Lustre ? Davinci ? Color ?
Click to expand...

Getting the raw files and re-grading a DP and Colorists work for your own purposes is walking a fine line in terms of maintaining artistic intent, but I understand the requirement to show the camera in its best light.
 
Man i really wanna go shoot some half naked women now lol (hmmmmm wheres my little black book)

This is amazing love all of it - well done to everyone.

Really wanna know the opening music love that.

Andrew.
 
T. vd Hoff said:
Wow, even the quadcore 2.8 Mac Pro with 14 GB ram produces the same effect. Must be the cheap memory :embarassed:
Gotta buy one of those new I7's then...
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Nvidia or ATI? I've found that it's nearly impossible to get smooth playback with any Nvidia card on a Mac Pro, it always tears and drops frames. I switched to a slower ATI and everything is smooth as silk.
 
:thumbsup:
I watched the reel upscaled to 1080p via PS3 on a 3.5m wide screen and it looked great. The best 720p I have seen so far. Often one could think it was a bit soft 1080p. The lack of sharpening and noise filtering was especially nice. Just detailed and creamy looking footage. Some shots I would have graded a bit differently and some showed minor aliasing because it was upscaled 720p. Overall great stuff.
Can we have a 1080p version, PLEASE, PLEASE!!?!
:thumbsup:
 
Music Used in Reel

Music Used in Reel

bobaandy said:
I know this is such a you-tuby thing, but Shazam and google seem to think that one of the songs in this reel doesn't exist, and I would really like to know what it is. It starts at 2:30.

Hi, the song you mention is called 'I am Lost' by Jason Lytle. It is from his upcoming solo album 'Your Truly, the Commuter' released on the 19th May. Although this is his first solo album, previously he was the leader of the band Grandaddy.

Not sure what the other music was, but would love to know!
Click to expand...
 
Phil Bates said:
They actually added sound that wasn't in some shots as well. For example, the plane dumping fire retardant.
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Yes, and wildlife sounds in our forest shots - in a part of the world where there is very little wildlife :)
 
At this point you can pave your patio with mile stones !

Cheers back, & thanks for The User party & all the great products!

Dave
 
Fantastic reel! Thank you!
I really love!!! the last "don´t vote" part. A great document.
Incredible shot of the jellyfish. Who did it?
Great editing and sounddesign.
All in all big pleasure to watch and hear.
Wow! What a quality you reached within the H264 compression.
Thanks to all who shared this great shots!
Marc
 
That's good. that's pretty good.


You know what... I have to admit that I don't really get crazy over Red footage anymore... because it doesn't have anything to prove anymore in my opinion.

I was all ready to watch this reel... poured myself a glass of wine... dimmed the lights... got the hand cream ready... and hit play.

But in the end, I've shot with it... most of you on here have shot with it... we all know it looks fantastic. So what i realise now is that I should really just close this forum and open up Final Draft.

See you later.

EDIT: and by that i don't mean to say that I don't think you all did a wonderful job. Because it does all look great.

Michael.
 
After seeing the 'dont vote' segment, anyone else get a kick out of Spielberg 'directing' a project not shot on film? :)
 
Red NAB reel in 1080 please please?

Red NAB reel in 1080 please please?

The Red NAB 2009 reel was fantastic at 720. I converted it to DCI, then projected it thru a Christie 2K projector for the 600+ seat theater of the Director's Guild of the Philippines yesterday. It would have look even better at 1080. Any chance of having the reel link posted at 1080?

thanks in advance

Oli Laperal Jr.
 
Michael Cioni said:
Hello all -
My name is Michael Cioni and I've edited and supervised the DIs for the 4 Red Reels that have been produced since 2007. We have had so many wonderful submissions over the past couple years for these reels that it's getting harder to fit it all into 5 or 6 minutes! Thanks for helping out with your awesome submissions. Here are some thoughts on the Reel for anyone interested.

CMOS EXPOSURE
As I say to all my clients, it's all in the exposure. In my experience, ideal CMOS exposure is the most critical point in which final color graded image potential resides. I've come across a number of projects that have "correct" exposure (ie: everything falling between 0 and 1023) but it's the way in which the sensor red, green and blue channels (especially the blue) are populated can make all the difference in smoother pictures, better overall dynamic range and less FPN.

4K DI
In order to get Red images to look their best, we do a full debayer in 4k full aperture (in this reel, most files were 4K 16:9, so we performed a full debayer at 4096x2304). We loaded the R3Ds into Quantel Pablo and did an auto-conform against my Final Cut Pro (ProRes SQ) offline. Clips that were not 4K including 3K and 2K underwent a native resolution full debayer and were upscaled to 4096x2304 (Fit Height). The DI was performed on the Quantel Pablo in 4K and graded in Rec709 extended range, 0-1023.

VIEWING
The 264 that Jarred made looks great. If you're seeing noise in the blacks it's probably the LIFT on your monitor. Here is a way in which you can do a quick calibration to make the reel look as good as possible.
If you are using a MAC, goto your Display settings and set the gamma to 2.2 and the white point to D65. Then adjust the brightness to about 75% (this will depend on the model and shipping date of your display, as each factory batch varies a bit).

Thanks again for all the submissions! They really were great to work with and hold up great on the big screen.
michael
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Very very nice work Michael,

Gorgeous footage guys!

Why do you think it is better to CC in full 4K rather than 2K if the final product is going to be 2K ?

Thanks

Antoine
 
The right place to start - the story

The right place to start - the story

Michael Stanmore said:
That's good. that's pretty good.


You know what... I have to admit that I don't really get crazy over Red footage anymore... because it doesn't have anything to prove anymore in my opinion.

I was all ready to watch this reel... poured myself a glass of wine... dimmed the lights... got the hand cream ready... and hit play.

But in the end, I've shot with it... most of you on here have shot with it... we all know it looks fantastic. So what i realise now is that I should really just close this forum and open up Final Draft.

See you later.

EDIT: and by that i don't mean to say that I don't think you all did a wonderful job. Because it does all look great.

Michael.
Click to expand...

Best of luck to you -- writing a great script is harder than wrangling all of this tech stuff put together. No meters, no software builds, no IT assistant, no Kinos, no HMIs. Just you and your imagination. And if you screw it up, no RED rig's gonna save you. Keep at it!
 
Antoine,

Michael forwarded me your post, so I wanted to give you some clarification on why doing a full debayer is better, regardless of the final deliverable.

First, the delivery spec for this reel was 4K, so that's why we graded in 4K. Makes sense, right?

Secondly (and more importantly) we find that when the exposure range is not in its "sweet spot", the wavelet compression can cause image artifacting. When trying to make the footage as malleable as possible, it is imperative that a full debayer be performed to insure all the usable integrity of an image is made available to a colorist. By doing a 2k extraction from a 4K source (especially when it is not perfectly exposed or perhaps a difficult shooting situation) you are not going to have all the image available for the colorist.
True, most outputs are 2K and it makes sense to conform in 2K if you are going to master in 2k. But PlasterCITY will always evaluate the 4K raw files and make decisions as to perform selected 4K debayer qualities/paths even when the deliverable may be 1080.

Hope this helps clarify things.
Best,
Paul
 
Hey Paul,

Thanks for the quick reply!

Very much appreciated !

So it is better to do a full debayer and CC in full 4K than do a full debayer, scale down to 2K and then do CC ?

Antoine
 
Antoine Fabi said:
So it is better to do a full debayer and CC in full 4K than do a full debayer, scale down to 2K and then do CC ?
Click to expand...

"Better?" Perhaps. But you can only do live 4K color correction on a very few devices, all very expensive. Not to mention the fact that almost nobody uses 4K projection for color correction because most of us feel that the Sony projector is just not optimal, particularly in the blacks, for that purpose. So the question isn't is it "better," the question is whether it's cost effective, and whether the differences are particularly noticeable in whatever format you're delivering. Since very, very few deliveries are in 4K, the issue becomes whether the differences can really be seen in either a 2K delivery, a film print, or an HD version to the point that it's worth paying for the time and associated expense associated with doing it that way. My own opinion is that in the vast, vast majority of cases, it's not. But that's just my opinion, and I don't happen to have a $400,000 Pablo system sitting around.
 
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