DC Metro FCP UG

Our combined May meeting of the Washington DC Apple Final Cut Pro Users Group (DCFCPUG), DC After Effects and the DC Digital SLR (DCDSLR) will be an exciting knowledge sharing event!
Adam Lubkin and Zhibo Lai will be presenting the following agenda:

• Intro to the RED Epic camera
• How to shoot with it
• Show some sample footage and HDRx clips as well
• Shoot a few seconds of live footage
• Shoot same footage using a DSLR
• Downloading media
• Workflow demos using FCP, Color, Redcine X, and AE
• Compare/contrast footage from Epic and DSLR
• Q&A

REGISTER EARLY AND SHOW UP ON TIME AS THIS WILL BE A FULL HOUSE EVENT!

Tuesday, 24 May 2011
Time: Doors open at 6PM for networking time, event starts around 6:30PM..

COVERED PARKING – AVAILABLE

GEAR:
Epic-M with a rapidly growing list of support gear from Arri, O’Connor, Steadicam, etc. An additional Epic is coming soon, and Scarlets when they’re ready.

Website at archaimedia.com will be up by the time of the meeting (24th May).

BIO:
After attending NYU film school, Adam left the field for several years to explore other interests including drawing, sculpting, woodworking, bicycles, construction, and fitness training. He recently created a bronze statue for the city of Frederick. His return to filmmaking began with shooting and editing documentaries. He has directed the feature documentary “Eb”, and worked on projects for numerous anti-poverty nonprofits. He’s currently writing a comedy feature set to shoot next year. His new company, Archai Media, has several productions in the works both here and in South America. Archai Media also rents its Red Camera gear, and is developing a line of ergonomic camera support accessories.

WHAT DRIVES ME AS A FILMMAKER:
My approach to filmmaking is to focus on a subject that moves me, and to find my way intuitively from there. Everything seems to happen naturally once I catch that spark. The first film I really connected to was Bicycle Thieves. So many moments in the film felt like complex life moments, not movie moments. This changed my conception of what cinema is capable of. I see film as a means of connecting us with our core and helping us live with ourselves and with each other.

Our May meeting features a RED owner, ALAN Lubkin and his RED EPIC!

Looks like another director’s been on a shopping spree lately, as RED’s Jim Jannard’s just announced that he sold another 50 EPIC-Ms to one generous customer. Who’s this, you ask? Why, it’s James Cameron of Avatar and Titanic fame, and he’s probably just blown $2.9 million on his latest stash of cinematographic toys — it’s $58,000 a pop for these hand-machined professional cameras. Details are scarce at the moment, but any educated guess would point at the upcoming Avatar 2 due end of 2014, meaning our favorite blue aliens will be returning in a healthy 5K resolution. Keep an eye out for Jannard’s official announcement later this week for the full lowdown.

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Source: REDUSER

Shot on 2 Red One’s without MX upgrade with the OmniRig using 2 Ruby 14-24 zooms at 16mm with no geometric or lens fix in post. Tone mapping done in AE CS5 32bit project, added a little saturation on the HDR. This was shot at about noon with no lights or bounce, it was almost impossible to see into the shadows with our eyes as it was so bright out.

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Courtesy E3D Creative on Vimeo

Courtesy: Tonacitran.com

This is the very first public footage of a working Red Scarlet Fixed Lens camera. I’m currently at Red Studios helping with the Santa Fe 3d Workshop with Geoff Boyle. Just as I am sitting there…in comes Jarred with a WORKING Red Scarlet 8X fixed camera! Naturally I was dying to hold the camera. As Jarred passed it to me, he told me I was the first public person to hold a working Red Scarlet. Let me tell you folks, it is real and is working. The Scarlet I was holding had the 5inch lcd touchscreen. The lens gear ring which can be set to zoom, iris or focus is buttery smooth. QUALITY. The electronic zoom works like a charm. I used the up-down rocker on the camera to zoom in on a Jeep in the parking lot (though I was “Mr. Shakey” due to the sheer excitement of finally getting to hold the Red Scarlet.) Justin O’Neill and I got to see it for a mere brief moment and off it went back to the vault. This should be comforting to those who may fear that RED wouldn’t have time for the Scarlet with all the Epic buzz going on. This gives me more confidence that the Red Scarlet is definitely around the corner. I have been really lucky to have held both the Epic and Scarlet. The Scarlet is lighter in weight than the Epic even with the fixed lens. This is due to the Scarlet body being more narrow. The weight felt very good and the camera felt rugged. Touch screen controls were functional.

Enjoy! tonacitran.com

Monday December 6 marks the first day the Red Epic camera was used to shoot a major studio motion picture. I can say for certainty the camera does exist and boy is it ready for primetime, as a matter of fact it’s a true game changer. We shot in 3D with 4 Epics mounted on 2 3ality TS-5 rigs today, we did 22 set ups, including running high speed and the images look stunning! I do believe the sensor is iso 800 minus 1 stop for the mirror in daylight and iso 640 in tungsten light but that is really for every dp to determine for themselves, Brook Willard and I figured 640 tungsten but that’s just a number. For the first time in digital cinematography, small size doesn’t come with a resolution penalty, as a matter of fact there isn’t a higher resolution camera available other than IMAX, and this one weighs 5lbs with an ultra prime on it, suddenly 3D isn’t a 100lb beast! We had the cameras on dollies and a libra head today and we flew the 3D rig like it was an Arri 435. You guys told me you could do it in September and here we are today, Congratulations.

I am lighting by eye except that I’ve had to re-train myself to work at lower light levels because the camera is so sensitive. The images we made today were stunning, rich beautiful color and the resolution of a vistavision camera all in a package the size of a Hasselblad 501. We are shooting 2.40 at 5K, there wasn’t a hiccup from the cameras all day, the data was flawless, and there was a lot of it. I can tell you without these cameras it would be impossible to move a 3D rig in the ways that THIS story demands, if Jim and the crew hadn’t made these cameras available to us I don’t think we could have shot this movie the way our director envisioned it in 3D. Guys you’ve trusted me to take these out on their maiden voyage and I can tell you that after today I won’t let you down. I will have the members of my team, most of whom are familiar to the REDUSER site post about things about sub-menu’s and stuff my camera assistants won’t let me touch. I would like to thank Nate, Brook, Michael, and Deanan as well as my regular camera crew for an unbelievable first day, and Brook thanks for the Tiff’s they look amazing!

3ALITY Digital TS-5 rig:

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Courtesy Pro*active*ly, RedUser.Net and John Schwartzman – Cinematographer – Los Angeles, CA