What was tested?

[Patrick Tresch]

Because I want the offline editing to use images that don't look underexposed (or clipped inaccurately either), even if the final color-correction will go back to the original RAW files.

I'm not sure how the interraction between Redalert, Redcine and Redone work but isn't it possible to join to the 3rd files a LUT or a DOP predefined "Look" that would be used to develop the r3d files in the dailies?

Either in the folder containing the shooted sequence.
Or as metadata (the same type as asa setting) while recording the r3d filse.

Is what you see on the LCD, EVF or HD output allready a look you can define while shooting and store as metadata with the r3d files? Or is it a "neutral" view just for "reference"?

It would be good to have the ability to come close to what you want in final grading while shooting in the EVF. In my work the interaction between light and framing is essencial as light often makes my framing / framing makes my lightning (this more often in documentry work). Knowing when a subject is in the full dark or still in light also changes the way you frame.

See you.

Patrick

 

[David Mullen ASC]

I don't know what features REDCINE has (Lucas was using RED Alert more on the LART day) but hopefully that is a feature, to create a simple set of parameters to open files in that gives them a base color-correction for dailies. So you can set-up a few looks for footage shot at 250 ASA, 500 ASA, 1000 ASA, etc. and have it be automatic when converting for editorial and dailies. I just don't want to leave color-timing decisions to an editor or assistant editor for dailies, I'd like it to be more automated than that if I'm trying to avoid the costs of a dailies colorist.

 

[Michael Brennan]

Help line?

Help line?

In one sense I'm hoping the new camera isn't significantly better so the LART results are relevant and usable.


Ive no objection to problems with cameras being made public once the cameras are available, I considered the first 100 REDs beta cameras.
We learn a lot about the design, designers and the company from the who what why and where list of problems they have encountered.

My view is that once cameras are available we should communicate problems initially to manufacturer and then to the outside world if the manufacturer is not responding.
But most of the time an instant answer is required and a plea for help is made to Forums where the problem (if it was a tech issue rather than an operator error) takes on a life of its own.

If Jim could have a 24/7 telephone help line for end users it would dramatically reduce the frequency of spurious but damaging public discussion as well as get on set problems solved quickly.

Such a help line has been the domain of camera rental companies who really get to know their kit, but with so many owner operators buying RED there is likely to be mucho misinformation flying around the net.



Mike brennan

 

[Steve Gibby]

I'm going to put to rest some of the complaints on this thread:

Mission of LART
LART was never positioned as being a comprehensive, end-all, pragmatic, left-brained micro-testing session to do nothing but bench test equipment. If you read back through my posts establishing LART you'll find I defined LART as a gathering of highly experienced and diverse professionals from the industry to do some testing, a think tank for practical usage of the camera system, and a series of real world crew shoots in natural light and artificial light. That's precisely what we did.

Results of LART
Yes, we tested various lenses for the usual parameters. Yes, we shot some blue screen. Yes, we had Lucas Wilson of Assimilate there to process footage in SCRATCH. Yes we shot several top-quality scenes indoors and outdoors over a 2-day period, which were initially corrected by Lucas, edited by Mike and Dane (VUZE), and will be posted on VUZE shortly - on the new GibCor channel.

Delay in releasing results
All of the LART volunteers are hyper-busy, including myself and Ken (GibCor), are real world professionals in the motion media industry, with unbelievably hectic production schedules. After donating several months of planning effort to stage LART, we've been tubed with work since. Me and Ken are co-producing a feature and several television programs right now. Donated efforts like LART necessarily have to take a back seat to our normal production work. The other team members have also been slammed with work, so the rollout of results, files, and edited pieces has been slower than we'd like.

The NDA
LART was co-produced by myself and Ken Corben. We donated untold hours to LART, and as such we reserved the right to release the info and results on our own schedule. The NDA ensured that we had the chance to exercise the opportunity to roll out the results. If some of you don't like that, that's just too bad. I've donated thousands of hours to this forum and other RED forums ever since RED was announced, so I make no apologies to those of you who feel entitled to my time and efforts. Seems the more I give, the more some of you demand. There was also some prototype equipment supplied by RED and others that required NDA.

The Bottom Line
LART went extremely well, the results were extraordinary, and they will be released as we can get to it. There were no significant problems with any cameras or other equipment. We all learned a lot, networked a lot, and had a good time. I think all of the LART participants would agree that LART was enormously successful, and met its objectives. We'll get this forum more info and results when we can. I have only been home for 5 days in the last 55 days. Me and Ken have been working a schedule that even the hyper-busy RED Team would shudder at. We should have some more time over the next few weeks to get some more stuff up.

 

[Emmanuel Cambier]

Hi Gibby

I guess hanging out on the north shore is what you call work.
You may fool some but you wont fool me.

Emmanuel

 

[Steve Gibby]

Hi Gibby

I guess hanging out on the north shore is what you call work.
You may fool some but you wont fool me.

Emmanuel

LOL...yeah, it's always way cool to work in Hawaii - especially the North Shore in winter. But the work in Hawaii was very busy, and we then came immediately back to California afterward to continue working on our movie and television projects. :innocent: