PUSH - Directed by Matt Sconce

Here are some more Grabs. Color tweaking still needs to be done to them.

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I will be editing Tomorrow morning! Wohoo!
 
Awesome grabs :thumbsup:

Just playing around:
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I'm sure you have your own CC already in mind ... this wasn't to offer one, just playing around with the fancy grab :)
 
How are you cutting your short? In After Effects? Isn't that limiting? Just wondering if you have developed a technique under constraints RED created.
 
If I had exported the tiffs in 8 bit instead of 16 bit, I could have editied in Adobe Premeire Pro CS3. I am cutting in After Effects now to keep the 16 bit tiffs, although it is time consuming. It actually is not that limiting, it just takes some tricks to see true timing. It is a much longer process. If it does not go well, I will convert all my tiffs to 8 bit and edit in premiere.
 
msconce said:
If I had exported the tiffs in 8 bit instead of 16 bit, I could have editied in Adobe Premeire Pro CS3. I am cutting in After Effects now to keep the 16 bit tiffs, although it is time consuming. It actually is not that limiting, it just takes some tricks to see true timing. It is a much longer process. If it does not go well, I will convert all my tiffs to 8 bit and edit in premiere.
Click to expand...

You are fortunate to have started earlier in the fest. You have the luxury to discover and experiment before the deadline. I bet the next version of Premiere will have 16bit editing to match AE.
 
It better! Haha.


Here is my workflow:

-I am Exporting 16 bit 2k tiffs out of Red Cine.

-I am then importing them as Tiff sequences into AE CS3.

-I am cutting and pacing in AE and then exporting to small wmvs where I review and see any changes I want to make.

-I then make the changes.

-Since the cips are already in after effects, the effects will be done at this stage although a cut will be sent out pre-effects for Sound and Score. Sound will have to be retouched after some key effects are done.

-I will then render out uncompressed AVI to Premiere Pro CS3 where I will combine the audio and the score.

-Finally, I will export to uncompressed Quicktime and open in Quicktime Pro where I will convert to the H.264 of the Fest.


Whew! Tedious, long, but beautiful end results...hopefully!
 
msconce said:
It better! Haha.


Here is my workflow:

-I am Exporting 16 bit 2k tiffs out of Red Cine.

-I am then importing them as Tiff sequences into AE CS3.

-I am cutting and pacing in AE and then exporting to small wmvs where I review and see any changes I want to make.

-I then make the changes.

-Since the cips are already in after effects, the effects will be done at this stage although a cut will be sent out pre-effects for Sound and Score. Sound will have to be retouched after some key effects are done.

-I will then render out uncompressed AVI to Premiere Pro CS3 where I will combine the audio and the score.

-Finally, I will export to uncompressed Quicktime and open in Quicktime Pro where I will convert to the H.264 of the Fest.


Whew! Tedious, long, but beautiful end results...hopefully!
Click to expand...

You work so hard! I was lucky enough to see some of the rough cut and it is coming along really well. :thumbsup: BTW, do you know what sleep is?
 
msconce said:
The shoot went wonderfully. I second the fact that the guys from Blare Media were amazing. The Red Camera perfomred gloriously and brought a freedom to help me express exactly what I wanted in this first shoot. Thank you to everyone who helped and put in the hours! Mark, of course, I couldn't have done it with out you. You Rock! I look forward to Netherborn Shoots!

Here are some Behind the scenes photos!
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Click to expand...

I posted this again to explain how well the steady cam worked. I carried it off and on for over 8 hours all night long and the unit performed flawlessly. I ran forward, backwards and sideways with the unit. Nice job on the design. The Red camera set up was moderately heavy, and added to the weight of a mild steel camera/follow focus mount I fabricated for the shoot. If anyone is running a Red camera in the future, have two camera mounts, one for the Red camera on the mounting plate and another under the mounting plate. Run the steady cam gimbal all the way up, and drop the base plate down to around 30 inches below the camera set up. We were unable to mount the Red camera battery pack down on the base of the rig as one should due to the Red battery cable being too short to reach down there. We had to mount it on top and this caused a real dastardly rise in the center of gravity of the whole rig. To counter this we used an 18 inch wide adjustable dumb bell with two 2.5 lb weights set perpendicular to the operator to give the set horizontal inertia. That addition also lowered the center of gravity for the whole unit to where it became very smooth. The Red had enough weight on top of the steady cam unit that it tended to oscillate horizontally back and forth slightly until we added the lengthened extensions for the lateral stability to the base of the rig. If the Red came with the longer battery cable we could have saved nearly 8 pounds off the unit. That adds up through an 8 hour active action steady cam shoot!

I would recommend using the Glidecam V-20 and not the V-16 for a Red camera steady cam set up, as the extra spring tension would have been a plus. We ran the springs all the way tightened and it was still slightly heavy for the well-built unit. Also, tighten the waist belt to where you can hardly stand it, but keep the center adjustments on the vest only moderately tight. This tends to place the weight on your legs and gives you greater longevity on the rig when you have to keep shooting many takes with great physical exertion. :happy:
 
UPDATE:

Whew! Some effects shots are done with many more to go. The After Effects workflow is working nicely, because all of the clips are already in there for FX work.
 
jealous that you have shot already....and even more jealous of the power of the red....(heavy sigh)

looking good.

Dustin
 
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