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Shooting a RED camera.

1. Set up your camera
Load latest firmware
Do a Black Shade Calibration (lens cap on, T22)
Format media (CF card, RED RAM, etc.)
(If you are renting a RED ONE, do a “restore settings” to clear any previous settings that may be left over from a previous job)

2. Set up your project.
Select a project size like 4K 2:1, 4K 16:9, 4K Quad HD, 4.5K 2.33:1, 3K 2:1, etc.
Select a project frame rate base like 23.976 (default), 24 or 25.
Select a color space like REDcolor (default) or RAW

3. Set ISO/ASA and exposure Do tests before your shoot!
Set camera White Balance (or better yet, shoot a MacBeth, grey card or other white reference in the scene and set WB in post).
Use your light meter
Use the camera exposure tools
• Check your histogram.
• Stay inside the “goal posts”- Noise floor (left) and clipping (right) in RAW with Build 30
• Check “RAW Check”- Noise floor (purple) and clipping (red) in RAW with Build 30.
• Check “barber pole”- RAW with Build 30.
• Check “stop lights”- RAW with Build 30.
• Use False Color

RECORD.

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Jannard – RED Leader

Size matters…

EPIC format sizes:

5120 x 2700 • 5K Full Frame
4800 x 2700 • 5K HD
5120 x 2560 • 5K 2:1
5120 x 2134 • 5K 2.4:1
4480 x 1920 • 4.5 Wide
4096 x 2304 • 4K 16:9
3840 x 2160 • 4K HD
4096 x 2048 • 4K 2:1
4096 x 1706 • 4K 2.4:1
3072 x 1728 • 3K 16:9
2880 x 1620 • 3K for HD
3072 x 1536 • 3K 2:1
3072 x 1280 • 3K 2.4:1
2048 x 1152 • 2K 16:9
2048 x 1024 • 2K 2:1
2048 x 853 • 2K 2.4:1
1920 x 1080 • 1080 HD

RED ONE Mysterium-X format sizes:

4480 x 1920 • 4.5 Wide
4096 x 2304 • 4K 16:9
3840 x 2160 • 4K HD
4096 x 2048 • 4K 2:1
4096 x 1706 • 4K 2.4:1
3072 x 1728 • 3K 16:9
2880 x 1620 • 3K for HD
3072 x 1536 • 3K 2:1
3072 x 1280 • 3K 2.4:1
2048 x 1152 • 2K 16:9
2048 x 1024 • 2K 2:1
2048 x 853 • 2K 2.4:1
1920 x 1080 • 1080 HD
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GRADING RED footage…

1st Choice. White Balance and grade native R3Ds in a system that supports the R3D SDK like Scratch, Pablo, Baselight, REDCINE-X, FCP, Color, Adobe CS4, Vegas, etc.

2nd Choice. After selecting the correct White Balance, output full range (REDlog or REDgamma) and full res debayer to DPX, TIFF or ProRes 444 from REDCINE-X/RED Rocket™. Open output in 3rd party grading applications.

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Jim – RED Leader

White Balance

So just how important is WB? Check out the two grabs below.

The top one’s WB is from metadata (about 4200K, -6 tint) left over from a previous in camera Auto WB (I forgot to do a new one in different light).

The bottom is the same clip but with a picked WB in REDCINE-X (about 5100K, -2 tint). Seemingly not a ton of difference… but look at the histogram of each. The 1st is clipped in the blue channel, the 2nd not even close. If I had exported the 1st clip to an RGB space for grading, I would never have been able to bring the clipping back in.

(Note the RED logo on Force’s car)

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Jim Jannard – RED Leader

Mysterium-X News.

The 1st project shot on the new Mysterium-X sensor is “The Social Network”, directed by David Fincher… cinematographer- Jeff Cronenweth. The movie is being shot with two RED ONE cameras modified with the new sensor upgrade. David and Jeff were kind enough to shoot “The Match” (DiCaprio) for us a week before RED Day One.


The next project to be shot with the M-X sensor (RED ONE upgrade) is “Knockout”, directed by Steven Soderbergh. Shooting begins in two weeks.


Interestingly enough… Fincher is using Soderbergh’s original cameras that were used to shoot “Ché 1&2″, “The Informant!” and “Girlfriend Experience”… so we had to prepare new RED ONE M-X cameras for “Knockout”.


The 1st round of customer M-X upgrades have begun.


Here is a reminder of what the images can look like from this sensor. This is ISO 2000 at T 1.3. No noise reduction whatsoever.

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Jim Jannard – RED Leader
Leave a comment if you want to see the short test clip at the DCFCPUG meeting next week!!  It is awesome on a 30 inch Cinema Display!

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Rodney – DCFCPUG Leader

FLUT™. What?


FLUT™ (or Floating Point LUT) is a science developed by Graeme that efficiently allows you to balance your mid-greys in the center of the histogram without worry that you’re pushing highlight detail over the edge.


FLUT™ works to smoothly bend in any highlights that might get clipped when going to a higher ISO, working like film’s smooth highlight roll-off.


As a user, you really don’t need to know anything about how FLUT™ works… just that it should be your primary brightness control.

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Jim Jannard – RED Leader

This is the same Graeme Nattress that sponsors DCFCPUG!

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FLUT™ Color Science. A Graeme Nattress special.

The beauty of this is that you don’t need to learn anything. It is behind the scenes magic. If you don’t clip RAW (with help from the new “goal posts”)… you won’t clip at any ISO.

The highlight control is incredible. Included in this program is an updated color science, for both Mysterium and Mysterium-X sensors. Since EVERYTHING you have shot on RED is REDCODE RAW… you can use this new science in it’s entirety on old footage.

Select REDcolor in camera (Default actually) and REDgamma is automatically selected. These selections will show up when you open the footage in REDCINE-X. If it is old footage, change your color space and gamma to these choices. Then adjust (if necessary) using the FLUT™ Control to “center-up” your image in the histogram. We have added Lift, Gamma, Gain to REDCINE-X for initial grading along with the existing controls.

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Jim Jannard – RED Leader

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Here are some DCFCPUG links that illustrate RED FLUT in action:
http://www.dcfcpug.org/2010/02/23/red-tip-of-the-week/
http://www.dcfcpug.org/2010/02/27/red-mysterium-x-and-the-match-test-l-dicaprio/
http://www.dcfcpug.org/2010/02/24/red-mysterium-x-sensor-4k-testing-seeing-is-believing/