Hard to go back to an adapter...

Stills from a feature I'm working on.

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Nice examples. Nothing short of what I would expect with the gear you're using and your talented chops to go along with it; are these latest shots untouched or graded?
 
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I recently purchased a RED. Love the camera. I shoot music videos a bit and would love to know what your workflow is being that your on an MBP. What is the most cost effective workflow for a 1080p deliverable?
 
shoot 4k hd and import to fcp via lot and transfer. The latest music videos coming out f a specific music video production house is using this method when dealing with RED. It'll end upas pro res naturally but if you only need 1080 it's definitely good enough.

I think he other best method is to invest in crimson, the workflow allows you to work with the raw in a smooth fashion.

I'm wondering how adobe support is going to pan out his year. Could be nice working with RED footage in a windows environment and not have to transcode or anything.
 
Adobe support is already here. The new plug-in allows TRUE native support...no transcoding. Just drag an r3d clip onto the premiere timeline and cut away. You can choose a nice assortment of debayer qualities depending on your machine speed. Its quite fast. With an i7 machine, RAID, and Nvidia 200 series card you can edit high quality 2K at realtime or even 1/2 rez 4K realtime. You can also do dynamic link with After Effects and swap right into it. Downside is that AE doesn't recognize metadata. Apple Color however DOES.

With the apple plugin you can adjust ISO and all that good metadata within the "RED room" in Color from the original R3D. Downside is that the FC plugin makes you Log and Transfer which doubles your HD space and swaps footage to a wrapped quicktime. However I have heard that a quick workflow is editing "M" proxies in FC and then transferring to Color, Relinking the footage to the original R3D and grading. Then pop back into FC and render to your chosen HD format.
 
The thing I love most (coming from the DVX/HVX world mostly) is how far you can push the image in post without it getting ugly.

I am shooting a short tomorrow on RED just for fun. I want to see how a natural light run and gun situation hits it.

Workflow wise I'm using Cineform to convert my 4k to 1080p and editing that real time in Vegas and AE for grading. Working like a charm. Wish I had the scratch for a RED system of my own...
 
Avenger007 said:
Adobe support is already here. The new plug-in allows TRUE native support...no transcoding. Just drag an r3d clip onto the premiere timeline and cut away. You can choose a nice assortment of debayer qualities depending on your machine speed. Its quite fast. With an i7 machine, RAID, and Nvidia 200 series card you can edit high quality 2K at realtime or even 1/2 rez 4K realtime. You can also do dynamic link with After Effects and swap right into it. Downside is that AE doesn't recognize metadata. Apple Color however DOES.
Click to expand...

See, this I didn't know. I've been swimming in script writing and trying to find money to eat with for the past few months. I remember the announcement, it looks like I'm about to go ahead and install Premiere on my system. I've got plenty of horespower to handle that workflow.
 
Yeah the adobe work flow is pretty sweet. I have been using 2k proxies for editing with just dragging and dropping the -H proxies from 4k footage into FCP and exporting from there. Mike can edit R3D native on his Mac Pro in FCP. I don't know the specs but that's the ideal way to go if you can. A studio I work with in NJ is editing a music video I shot and I set them up to edit native on their Macpro and it looks sweet on the big screen.
To get the best perceived sharpness for 1080 shoot 4k 2.1 since the numbers down rez evenly. You do lose some image on the crop factor though but just frame a little wider for the 16x9 1080p.
 
yeah but looks like video camera with 35mm lens , i dont quite like its digital quality ,there is not this nice gray tone on human skin like with film,its digitalness here.But quality of course is nice.Maybe it needs different lens to bring those gray tones from skin and on those stills honestly it looks like regular digital 35mm stills not like film.
White is too white on video cameras.
 
bwwd, check around some of the red user forums for some great images of stretched dynamic range to give you that nice thick film gray tone. There is a common method of rating the camera at 500-800 iso and then adjusting in post to stretch the range and simply treat the blacks with some noise reduction. This has had some great documented results.

Beat Takeshi - try shooting in 4K HD mode. It gives you exactly a 4x HD frame, in other words your 4K frame can be exactly resized into a 1080 comp without any chopping. It works well but limits shooting methods because you can't send 4K HD to 8gb CF cards in RedCode 36. You CAN do it on every media under the RedCode 28 format. Its also nice for doing HD work that might ultimately have a 1.85 aspect.
 
Really nice quality shots, BT... I'm sure the framing choices were motivated, but out of curiosity, did you treat any of the windows in the cityscape scenes with any sort of ND?
 
The windows had their own greenish ND on it. We tried to make it look like it might be a small news broadcast since they didn't have an actual location for that. On both of those shots though I used a tool in photoshop to brighten up their faces since its not done yet on the footage. The rest of the shots I upped the exposure and added a slight curve but they are not really colored corrected like they will probably be. It would be nice if it went to a real colorist to see what they can do.
 
Kholi said:
shoot 4k hd and import to fcp via lot and transfer. The latest music videos coming out f a specific music video production house is using this method when dealing with RED. It'll end upas pro res naturally but if you only need 1080 it's definitely good enough.

I think he other best method is to invest in crimson, the workflow allows you to work with the raw in a smooth fashion.

I'm wondering how adobe support is going to pan out his year. Could be nice working with RED footage in a windows environment and not have to transcode or anything.
Click to expand...

Tried to import via L & T and it wouldn't allow it. Opening and dropping proxy files require long render. Do I just need to go to Red cine and transcode to Pro Rez?
 
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