This page contains a Flash digital edition of a book.
Case studies
camera sensor with (bar compression) no back through the Night School footage frames-per-second, at 3K up to 60fps and
processing. As with most cameras you have we had shot each day, he kept commenting at 2K up to 120fps. 2K, although only a
options for setting white balance, gain, on how impressed he was with what he was quarter of 4K, still has about 12 per cent
exposure, etc. but none of this is actually seeing. The film is entirely set at night, more resolution than HD and is a similar
baked into the image. Instead, all the much of it interiors lit with strong primary size to super16 film with the added
information that controls the “look” is colours (predominantly red in fact). The advantage that you can use cheaper, lighter
stored as metadata, information recorded camera dealt with every situation superbly, super16 film lenses in this mode.
alongside the RAW file that tells the delivering outstanding footage and One of the first jobs on which our RED
various post applications how to display allowing the artistry of the cinematography ONE

was used was for our local neighbours,
the picture. This means that if you change to really stand out. Blue Hippo Media. They were prepping an
your mind later, you can reset the values. Robbie made very few changes to anything EPK to accompany the release of Gown, a
This could be as simple as realising you in post, relying on the in-camera settings new album and single by up-and-coming
have selected the wrong white balance— he had chosen and delivering as much artist Jo Hamilton. Most of the filming was
instead of having a nightmare in the edit range for the director and colourist to utilise at 3K/50fps with Jo lip-syncing to a track
trying to correct the mistake as best you in the final grade. This included shooting of herself played back at double speed,
can, with RED ONE

you simply type in a everything in the full 4K mode then although one shot was a beautiful slow-
new colour temperature value and the shot downconverting to HD for editing and motion scene of her being showered with
is corrected accordingly. delivery. This approach of oversampling, rose petals that used the 2K/120fps option.
The benefit of such a system is the power shooting at a much higher resolution than At this point I feel that I should point
you have over the image in grading. you intend to output at, provides a much out that shooting on the RED ONE

is not
Cinematographers will love this camera higher quality of image than shooting at yet perfect. There are little niggles with
because, unlike with HD, they do not have the native resolution. the camera itself such as mini connectors
to worry about getting the look absolutely Much has been said about the camera’s (DIN instead of BNC, miniXLRs, etc.) and
spot on during the shoot. Colourists will ability to shoot at 4K, but this is only one the boot up time for the camera is currently
love it because, as with film, the amount of option among several. The camera also has around 90 seconds long. The biggest issue
latitude they have to work with gives them 3K and 2K shooting modes, settings that though is with the workflow. Thanks to a
a great deal of scope to be creative. And in essentially take a “window” from the centre deal that RED struck with Apple in the
a “best of both worlds” deal, if you do not portion of the sensor. The advantage of this early days of the project, Final Cut Pro is by
have the time or money to spend on grading, is that, as the amount of data coming from far the easiest post-production software to
then you can just rely on those metadata the sensor decreases, the frame-rate at which work with when shooting on the RED ONE

.
files and work with the image as recorded. you can shoot increases. At 4K the camera There are several workflows available to
Sitting down with Robbie Ryan to look can shoot variable frame-rates from 1-30 get the camera R3D files into a format that
Night School
www.moviescopemag.com 35
Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84
Produced with Yudu - www.yudu.com. Publish online for free with YUDU Freedom - www.yudufreedom.com.