PUSH - Directed by Matt Sconce

Matt - Thanks for sharing your experience on this particular production.

I don't know if someone mentioned this or not, but how are you managing all the video media? Shooting ratio? Storage of 4K media? How many terabytes? Are you using a fiber-optic raid system? I like to know.
 
Sprocketboy said:
Matt - Thanks for sharing your experience on this particular production.

I don't know if someone mentioned this or not, but how are you managing all the video media? Shooting ratio? Storage of 4K media? How many terabytes? Are you using a fiber-optic raid system? I like to know.
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I think we are going to get away with 1 terabyte-ish. We are capturing off of a compact flash card to two hard drives and a laptop harddrive as well so we have triple redundancy in case one goes down. We then offload to a terabyte drive and export tiffs from Red Cine. 2K is about 25mb per frame and 4k is exponentially higher. We will need more space for 4k. We only are exporting the take we want though which will save on space as Redcode so far is only 60-70 gb for the first weekend shoot.:dankk2:
 
Here are some new grabs and one some grabs from before in case you missed them. All of them are compressed to internet friendly sizes, but they are all 4k or 2k Untouched out of camera. I will post a 4k if there is a demand:
A001_C012_080322_0602_2000k_op_800x400.jpg


A001_C001_080323_0000-2K_op_800x450.jpg


A001_C011_080322_0275-4k_op_800x400.jpg


A001_C002_080323_0170-4k_op_800x400.jpg





UPDATE:
I am preparing for this weekend's shoot. It will be the final shoot for Push and involves a lot of action. We are renting the Red 18-50mm lens again so we need to get moving with that order! -Matt
 
Here is a test on a cropped section of the 4k image. This is a comparison between the untouched image and then the same image with sharpening:

Untouched:
A001_C002_080323_0170eye.jpg


Sharpening filter:
A001_C002_080323_0170eye-sh.jpg
 
The amount of control you have over the image is amazing. Are you using RedALERT to preview on your computer? How are you managing sync audio?

Sorry about the questions... I'm curious about how RED's workflow will slow things down if you don't have all the proper support hardware or software. I guess its a matter of transferring to an editable format and conforming in the end.
 
Sprocketboy said:
The amount of control you have over the image is amazing. Are you using RedALERT to preview on your computer? How are you managing sync audio?

Sorry about the questions... I'm curious about how RED's workflow will slow things down if you don't have all the proper support hardware or software. I guess its a matter of transferring to an editable format and conforming in the end.
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Audio was recorded into the Red and also into a Digital system. I cannot use Red Alert sadly because I am on a PC so I will have to Sync audio the hard way. Making it line up with lips, actions, etc. I open the clips with Red Cine (It works on only one of our editing stations) Hopefully two when my XPS system comes in April 5th.

We export Tiff sequences and edit those.

I never mind the questions. I believe this is a community where the sharing of knowledge should come before secrets so we can all grow as filmmakers.
 
Yeah, that is pretty cool. I can't get over how big that is. Must be incredible to work with. Yowza!

So, is that bokeh directly from the RED? You didn't shot with an adapter, right? I have to go back and look at your rig.

...

I'll answer my own question....

Nope. no adapter. right out of the Red... and a pretty damn nice looking lens!
 
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Ted Arabian said:
Yeah, that is pretty cool. I can't get over how big that is. Must be incredible to work with. Yowza!

So, is that bokeh directly from the RED? You didn't shot with an adapter, right? I have to go back and look at your rig.

...

I'll answer my own question....

Nope. no adapter. right out of the Red... and a pretty damn nice looking lens!
Click to expand...

It is pretty sweet to have this large of an image to work with, especially as we move into post after this weekend. The only issue is the workflow. It is killing me that we only have one system able to export footage. I just ordered a Dell XPS Quad Core that should solve that problem. It comes in on the fifth of April. I can then edit from home which is a must because of our new little baby girl (1 month old on thursday).

The Red is amazing. No adapters needed, Ridiculous DOF. The LCD is crisp and allows you to achieve critical focus, even on a shoulder mount setup. Despite what others have said, the camera is quiet. It is able to shift into silent mode when recording and then have the fan turn back on after recording stops, so sound is not an issue.

I also think the actors fed off the amazing images the camera was producing. When you can see immediate playback on a high def monitor and it looks like a movie already, you just act better. It is inspiring. I HIGHLY reccomend people to beg, buy, or borrow their way into using a red for a project. It is definitely an eye opening and schema changing experience. :beer:
 
msconce said:
I never mind the questions. I believe this is a community where the sharing of knowledge should come before secrets so we can all grow as filmmakers.
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Much appreciated. I have access to a Red camera and would like to know the trials that others are going through before considering it for a feature. I'm most concerned with how much an Indy filmmaker can take advantage of the RED workflow during post on a minimum budget.

The fact you are using it on a short film will give you invaluable experience before using it on a larger scale project. My hat's off to you.

That 4K image is fantastic.
 
Sprocketboy said:
Much appreciated. I have access to a Red camera and would like to know the trials that others are going through before considering it for a feature. I'm most concerned with how much an Indy filmmaker can take advantage of the RED workflow during post on a minimum budget.

The fact you are using it on a short film will give you invaluable experience before using it on a larger scale project. My hat's off to you.

That 4K image is fantastic.
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It seems very workable sofar. My system specs are good, but not stellar and the footage plays beautifully on it. For speed it may be smart to edit a smaller version and then render a larger version for the final, but so far I really haven't seen the need for it. We are doing a lot of post work and I think the real slow down will be in After Effects. However when we get to that point, I may just bite off shots on a shot by shot basis.

As matt mentioned before, we are rendering to frames and work in TIFF sequences. That concept is probably foreign to most non-VFX experienced folks, but for those of us that have been doing this for a while, in the early days, that was the only real effective way to work with renders and animation... in sequences. That said, my mind is already wrapped around that concept and although it can be little daunting to work with that many files (if you are not organized), there are some advantages. When rendering large scenes, if you render to a movie file of some sort and your system crashes.. you lose the whole file and you don't usually know about it until the next morning when you check on your render. With frames you just pick up the render where it crashed instead of starting from scratch.

Again, when you are dealing with just editing and you are not doing post outside of your editing platform, the above concept doesn't necessarily apply, but once you go into Combustion, After Effect or anything along those lines, you may really benefit from working with frames. The key is to be organized and not to dump all of you frames from seperate renders into one directory, but make sure you put them into relative sub-directories.

Okay, enough of the tangent... in short, I think that the footage will be fairly workable.
:cheesy:
 
Just throwing the invite out there, but if any of you DVXusers wants to come to the last shoot this weekend (Friday 6pm-12ish) and (Saturday 6pm-12ish). You are welcome to show up. We could use your help and you would get to be on set and see the Red and our team in action. PM me if you want to come and need directions. RSVP if you are coming so we can expect you. Saturday is the day I would recommend as it is the day with action steadicam work.
 
Too bad I live on the other coast. I would be more than happy to give a helping hand.

Mark and Matt thanks for explaining much of the RED workflow. I have a fairly elaborate editing setup because by trade I've been involved in 3D animation/motion graphics since the early 1990s. Its a good part of my bread and butter. The RED workflow sounds like the perfect fit for me. I can see working with 72 to 90 TIFF frames for a 3 second EFX shot. Obviously, more shots makes the process more time consuming, but its a small price to pay to work in 4:4:4 color space.

Good luck this weekend.
 
Sprocketboy said:
Too bad I live on the other coast. I would be more than happy to give a helping hand.

Mark and Matt thanks for explaining much of the RED workflow. I have a fairly elaborate editing setup because by trade I've been involved in 3D animation/motion graphics since the early 1990s. Its a good part of my bread and butter. The RED workflow sounds like the perfect fit for me. I can see working with 72 to 90 TIFF frames for a 3 second EFX shot. Obviously, more shots makes the process more time consuming, but its a small price to pay to work in 4:4:4 color space.

Good luck this weekend.
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Thanks! We will need it!:dankk2:
 
I am super disappointed that we couldn't make it to the shoot last weekend, and now I'm back in LA. Boo! I worked with Ian on a 35mm feature a couple years ago and saw Justin at NAB last year. Would've been fun to catch up, and scope out the RED!

But I shall let Roque (from 'The Dumb') know about it.

Good luck guys!
 
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