PUSH - Directed by Matt Sconce

TimurCivan said:
Oh sconce.... youre teasing me....................................
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I know...I know....wish you could be here!:violent5: Things are progressing on the other front as well, so maybe you will be here soon. I have rockin Camera Operators and Acs to help you out with the next project with the Red! :happy:
 
Hooray! One of the Producers, Troy, has a Mac and kindly exported the audio for my selected takes. I got Red Cine to work on my home computer and now everything is in full swing. I am exporting Tiff frames and then I will import them into premiere CS3 where I will punch in the audio. I will then make a cut (after this weekend of course) and get it to Mike Aro for Sound. I will then lock a final cut and get it to Justin Durban. In the mean time, I will be working with Mark Aro on the visual effect shots. Awesome!



Hmmm...not bad...
I am watching a scene export right now in Red Cine and the 4k tiffs are only 48mb per frame. That is exactly double the 2k tiffs. I was told they would be exponentially larger but that is not the case. This is much more manageable than I thought before.
 
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UPDATE:
WHAT WAS I THINKING??

48mb a FRAME! I just totally ran out of space after exporting a few scenes. Lets see....calculation time....
Two of the shots I was just exporting were 1500 frames. 1500x 48 =72000 /1000 = (72 Gigs for one scene)

Now, that was quite a long scene but holy crap! I will need at least a terabyte for this...most likely two. The space may be huge, but the quality is astounding me. I will keep you all updated as I encounter new challenges.
 
Blech! I just tried to get what I needed off of one of my externals (I cannot afford another at the moment) and wiped it clean. 300 more gigs of free space for the monster that is 4k tiffs. I might just go 2k tiffs if I do not have enough room.
 
msconce said:
48mb a FRAME! I just totally ran out of space after exporting a few scenes. Lets see....calculation time....
Two of the shots I was just exporting were 1500 frames. 1500x 48 =72000 /1000 = (72 Gigs for one scene)
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:shocked: Whaaa----???? Whoa!
 
Matt
Have a good shoot tonight and i hope you find all the hard drive space you need:)
 
Matt - I suspected your workflow would be too slim for 4K material. That's why I barraged you and Mark with questions earlier in this thread. This also has me thinking about using RED in a 2K format unless I have the space and fast drives to handle 4K.

The good news is that you have 4K footage you can conform to your offline edit in the finishing stage. Look into XML export possibilities.
 
Sprocketboy said:
Matt - I suspected your workflow would be too slim for 4K material. That's why I barraged you and Mark with questions earlier in this thread. This also has me thinking about using RED in a 2K format unless I have the space and fast drives to handle 4K.

The good news is that you have 4K footage you can conform to your offline edit in the finishing stage. Look into XML export possibilities.
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I would still shoot everything you can at 4k. You get prettier pictures when you downrez to 2k, and the RedCode is not that space intensive.

img said:
Matt
Have a good shoot tonight and i hope you find all the hard drive space you need:)
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Hey thanks! I think we will have enough space. It will be an interesting shoot tonight. I am filming a single scene with one actor from several different angles with that diffusion in a can stuff for mood.

Ted Arabian said:
I don't blame you. That is an amazing amount of information. I had no idea.

Happy shooting!
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Totally, but down rezzing to 2k is working gloriously! Woohoo!:laugh:
 
Sprocketboy said:
Matt - I suspected your workflow would be too slim for 4K material. That's why I barraged you and Mark with questions earlier in this thread. This also has me thinking about using RED in a 2K format unless I have the space and fast drives to handle 4K.

The good news is that you have 4K footage you can conform to your offline edit in the finishing stage. Look into XML export possibilities.
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Yep this is what we discussed last night. We are also giong to stay 2k unless we find that we are not getting enough detail for a shot or something like that and really don't this that this will apply, if it does it will most likely only be applicable to detailed or complicated VFX shot where more detail will make keying or compositing easier/better looking.
 
Mark T. Aro said:
Yep this is what we discussed last night. We are also giong to stay 2k unless we find that we are not getting enough detail for a shot or something like that and really don't this that this will apply, if it does it will most likely only be applicable to detailed or complicated VFX shot where more detail will make keying or compositing easier/better looking.
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So far the 2k is looking Sweet! It also renders much faster.

For the shoot tonight we will be without power and it is the first time on our city location. We are going to use two generators and if all comes down to it....car headlights "Gasp"! It probably won't come to that due to the awesome guys at Blare Media and their light rig. Yay for them! We took pictures of our actor's face makeup and I am glad we did as we have to re-create it tonight, and tomorrow. We originally used shoe polish but that tried to destroy our actors face with burning horror...:zombie_smiley:so we are going to see if we can replicate the look tonight with make-up. We shall see!
 
Sprocketboy said:
Matt - I suspected your workflow would be too slim for 4K material. That's why I barraged you and Mark with questions earlier in this thread. This also has me thinking about using RED in a 2K format unless I have the space and fast drives to handle 4K.
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The workflow is super easy on a mac. Drop in your 1k, or 2k proxy files into fcp, switch the codec for the timeline to redcode and there is no r endering involved. If short on time just switch the codec to prores and render out. If you're wanting to conform to a higher res look into crimson which can take your fcp xlm and generate a pull list for redcine so you're only rendering what is in your final project.
 
Matty_g said:
The workflow is super easy on a mac. Drop in your 1k, or 2k proxy files into fcp, switch the codec for the timeline to redcode and there is no r endering involved. If short on time just switch the codec to prores and render out. If you're wanting to conform to a higher res look into crimson which can take your fcp xlm and generate a pull list for redcine so you're only rendering what is in your final project.
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Yea, what he said!



Ok, I admit it .. I have no idea what you're talking about :undecided ... guess it's a good thing I'm not doing the post workflow for this project :grin:
 
Matty_g said:
The workflow is super easy on a mac. Drop in your 1k, or 2k proxy files into fcp, switch the codec for the timeline to redcode and there is no r endering involved. If short on time just switch the codec to prores and render out. If you're wanting to conform to a higher res look into crimson which can take your fcp xlm and generate a pull list for redcine so you're only rendering what is in your final project.
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That is sweet!:beer: I can't wait until the day the PC's workflow is so streamlined.:Drogar-Love(DBG):
 
Well, we are off to the final shoot! Friday and Satruday are the last and then we fully move into post. Here are some BTS stills from the first weekend to keep you company until I post again.:

Our green screen setup:
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Mark and I watch intently...
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What my wife got me for Christmas. She is THAT cool!
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Setting up for a slowmo shot...
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Watching the shot...
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I might post tonight, but most likely it will be Saturday sometime. I am excited and a little nervous about these next two days. Until then...best of timefesting to you all!
 
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