Friday, February 26, 2010

New York Film Academy Students:




Here's the links to my lesson plans/notes from my RED Classes. If you have any questions, feel free to email me.


A NOTE TO ANIMATION STUDENTS:
If you have any questions IN CLASS, feel free to talk to Shawn Sullivan. He's awesome.


A NOTE TO CINEMATOGRAPHY STUDENTS:
If you have any RED Questions, feel free to talk to Ryan in the Transfer Room. He's super-rad, and has the 2:1 Export problem down.

STOP SHOOTING 2:1! It will only cause you headaches. Shoot 16:9. . . you'll be happier with the result, and you can always crop/matte in FCP for 2:1, 2:35, or any other aspect ratio you can think of.


HERE'S THE LINKS!!!
RED Online Edit for Beginners (FCP 6.0.6 ONLY)


RED Workflow for MAYA/NUKE (FCP 6.0.6 ONLY)


RED Workflow OFFLINE EDIT for advanced users (FCP 7 ONLY)


If you see anything that needs to be corrected, or have any questions/suggestions/comments, feel free to Email me! These links will be updated as often as possible.


If you're TOTALLY lost, here's some links that'll get you started:
Creative Cow
RedUser
Final Cut Pro Support Forum
THE BEST PLACE TO LOOK FOR ANSWERS

RED Online Workflow for FCP 6.0.6

Mike Mazzotta | screwfilms@gmail.com | screwfilms.blogspot.com

EASY Online Workflow for FCP 6.0.6


OVERVIEW:

THIS IS JUST TO GET YOU STARTED.

This workflow is SPECIFICALLY for students to help get acquainted with The Red Raw workflow. Use this as a starting point, and experiment from there.  The options laid out in this workflow are designed to be the most compatible with FCP 6.0.6. . . . feel free to play around with with ALL of the possible options, and compare the results to see what works for you.
~Mike

The RED One is a Film Camera with a digital back.  The Imaging Sensor is The Film Plane, De-Bayering is the Chemical Bath, Color Science (LUT/Colorspace) is the Lab Timing, and Transcode is the Telecine.  Your R3D files are a Digital Negative.  Treat RED footage like film, and you will have good results.

The RED is NOT a Video Camera: it does no onboard image processing.
The RED is NOT an HD Camera: it does not shoot 720/1080

Glossary of Terms
  • Raw
    • A File that contains minimally processed data.
    • Contains Pixel Data from an Image Sensor
    • Also Known as a Digital Negative
  • Online Editing
    • Handling the deliverable footage
    • The FINAL stage of editing
  • Offline Editing
    • Handling Transcoded versions of the RAW footage
    • NOT THE ORIGINAL FOOTAGE
  • Proxy
    • Footage that stands in the place of the ORIGINAL footage
  • Roundtrip
    • The Process of taking data from one program to another, then back to the original program. (i.e. NLE => DI => NLE)
  • Codec
    • "Compression-Decompression"
    • A set of instructions to Compress data for storage, and De-Compress for Playback
  • Color Space
    • a way to interpret numerical values for Color (RGB/CMYK/Etc)
  • LUT
    • Look Up Table
    • is used to determine the colors and intensity values with which a particular image will be displayed
    • Is the "Palette" 
    • The way a VIDEO SOURCE interprets color
  • Debayer
    • the Process of Interpreting RAW Image data
    • DIRECTLY related to QUALITY of your footage
    • the PROCESSING of your DIGITAL NEGATIVE
    • How it breaks down the Wavelet
    • Quality (Down Convert is Size)
  • Import
    • Bring Data INTO a program
  • Export
    • Send Data OUT OF a program (Create a NEW TYPE of file)
  • Transcode
    • Convert Data from ONE digital format to Another (Create a SIMILAR type of file)
  • "The Caboose Effect"
    • Plan from Front to Back.
    • Start With Distribution, then work your way through Acquisition



THE ONLINE EDIT
  • Preparing Your Footage for Transcode
    • Using Your Camera Reports, Mark the RDC's that you want to Transcode in the RDM folders.
      • "Don't Print Bad Takes"
      • NEVER DELETE - You may need some of these files later.
      • DO NOT RENAME ANYTHING THAT THE CAMERA GENERATES
      • NEVER save or add ANYTHING to your original files:  Make a Backup, and LOCK IT.
  • Transcode in RedRushes
    • Step 1 - Add Clips
      • Add ONLY the RDC files you marked from your camera reports
    • Step 2 - The Render Tab
      • Debayer Quality: Quarter Res
      • Timecode: External/TOD
      • Look Source: Camera
      • Color Space: CameraRGB
        • Will be editing Digitally/MOST LIKELY for Digital Distribution
      • Gamma Space: REDSPACE
        • This MAY be the closest to how you painted on set.
    • Step 3 - The Resize Tab
      • [Check] Scale
        • Preset: 1920x1080 (For HD Delivery)/2048x1080 for 2k Delivery (56 pixels on each side)
      • Fit/Stretch: Fit Width
    • Step 4 - The Output Tab
      • Output Format: Quicktime Movie
      • Quicktime Codec: Apple ProRes 422 (sq)
      • OUTPUT FOLDER!!
        • Set to a New, SPECIAL folder on your Hardrive.
    • Step 5 - Click Start     
  • Import Into FCP
    • File -> Import File
  • Cut Your Film
    • Keep in mind that these are DELIVERABLES, in accordance with ONLINE edit.
  • Color your Film in FCP
    • Effects=> Video Filters => Color Correction=>Color Corrector 3 way
    • Effects => Video Filters =>Image Control => Contrast and Beziers

-OR-
  • Color your Film in APPLE COLOR
    • Right-click your assembled sequence
    • Export => Send to Color
    • Color will launch. . . and you will color correct your ProRes Quicktimes


Sunday, February 21, 2010

A Movie A Day - Feb. 21st, 2010


Pan's Labyrnth

Blood into Wine Screenings

Docs aren't usually my bag, but i'm REALLY looking forward to catching this. . .






From the Puscifer mailing list:
A quick reminder that Blood Into Wine begins playing in theaters nationwide tonight. This week's screenings:

AX - Phoenix - Feb. 19 (Premiere at W Scottsdale Hotel - Sold Out)
CA - Healdsburg (Sonoma) – Feb. 19 & 21 at The Raven Film Center
CA - San Diego –Feb. 19 & 21 at La Paloma Theatre
IA - Davenport – Feb. 19, 21 & 26 at The Capitol Theatre
TX -Austin – Feb. 19 & 20 at Alamo Drafthouse Lake Creek
TX - Houston – Feb. 19 & 20 at Alamo Drafthouse West Oaks
TX - San Antonio – Feb. 19 at Alamo Drafthouse Park North
TX - San Antonio – Feb. 20 at Alamo Drafthouse Westlakes

Upcoming screenings:

AZ - Phoenix - Feb. 26 - Mar. 4 - Harkins Valley Art Theater
AZ - Tucson - April 28 - The Loft Cinema w/Director's Q&A
CA - Los Angeles - Feb. 25 - 28 - Laemmle Sunset
CA - San Francisco - Feb. 25 - Viz Cinema - SOLD OUT
CA - San Francisco - Feb. 26 - ATA
GA - Atlanta - Mar. 4 - Fox Theatre
IN - Indianapolis (Shelbyville) - Apr. 6 - Strand Theatre
MA - Boston - Feb. 26 - 28 - Somerville Theatre
MA - Salem - Mar. 12 - 18 - Cinema Salem
MN - Minneapolis - Mar. 4 - Riverview Theatre
NM - Albuquerque - Mar. 13 - Guild Cinema
UT - Salt Lake City - Mar. 5 - 11 - Tower Theatre

More dates to be announced shortly including Detroit, Portland, New Orleans and Santa Cruz

----------------------------


Puscifer tour starts Mar. 2 in Atlanta (CW Center Stage). Meet & Greet tickets with premium seats and pre-show Wine Classes also with premium seats are available now at Puscifer.com.

Full list of Puscifer tour dates (click on venue to be linked to ticket information):

Mar. 2 Atlanta, GA CW Center Stage
Mar. 3 Atlanta, GA CW Center Stage
Mar. 5 Washington, DC Lincoln Center
Mar. 6 Washington, DC Lincoln Center
Mar. 8 Philadelphia, PA Theater of Living Arts
Mar. 9 Philadelphia, PA Theater of Living Arts
Mar. 11 New York, NY Grand Ballroom
Mar. 12 Stamford, CT Palace Theater
Mar. 13 New York, NY Apollo Theater
Mar. 15 Boston, MA Berklee Academy of Music
Mar. 16 Boston, MA Berklee Academy of Music
Mar. 19 Toronto, ON Queen Elizabeth Theater
Mar. 20 Toronto, ON Queen Elizabeth Theater
Mar. 21 Lorain, OH Lorain Theater
Mar. 23 Detroit, MI Royal Oak Theater
Mar. 24 Detroit, MI Royal Oak Theater
Mar. 26 Chicago, IL Vic Theater
Mar. 27 Chicago, IL Vic Theater
Mar. 28 Columbus, OH LC Indoor Pavilion
Mar. 30 Milwaukee, WI Pabst Theater
Mar. 31 Kansas City, MO Uptown Theater
Apr. 2 Minneapolis, MN Pantages Theater
Apr. 3 Minneapolis, MN Pantages Theater




Thursday, February 18, 2010

A Movie A Day - Feb. 18th, 2010


Suicide Kings

From Cinepak to H.265: a brief history of video compression

'Nuff Said. From Ars, so you KNOW it's proper.

CLICK ME, NERD!!


(btw, that's totally a GL2 ;P )

A Scene from the Short Film "Nostalgia"



Here's a scene I cut from the Short Film "Nostalgia" directed by Aksel Stasny.

Canon Video DSLR Workflow

UPDATE: There's a New Canon FCP Plugin in the works. . . here's a link to the news item LINK

Will update my instructions/workflow once it's out.





With so many projects shooting vDSLR, there's been some confusion with how to treat the footage. I usually use THIS workflow when coming back from Canon products. Here's an excerpt from it:

Shoot on 7D
(This is the same for ALL Canon vDSLR cameras. -Ed.)1080, shutter 1/50th on 25 fps

Read movies from camera and store on backup HD

Use MPEG StreamClip (freeware) and it’s batch functionality to add all 7D clips to it’s batchlist and convert all these babies to Quicktime Movie : Apple ProRes codec -> convert all and save to project folder or “converted” folder on backup HD. Do NOT enable any scaling or deinterlacing options in this program, just set the Quality slider to 100% if it’s not already at that.

Use FCP to edit as usual, set project/renderer to ProRes or ProRes-HQ (bit over the top maybe…)


The thing to remember is ALL the Canon vDSLRs shoot Quicktime movies in the H.264 Codec. . . Make sure you budget enough time and storage space for your considerably larger Pro-Res files. To save on time, COPY all the files from your CF cards, but only transcode your CIRCLE TAKES from your camera reports. . .


HERE'S THE DOWNLOAD LINK FOR MPEG STREAMCLIP
-Mike

- Posted using BlogPress from my iPhone

Location:5th Ave,Brooklyn,United States

Joys of Backing Up.

So, I often find myself SCREAMING at my students (and occasionally clients) about how NECESSARY it is to back-up.

What I often forget to say is how EVERYTHING should be backed up, not just your 'important' data, but the mundane, as well.

Today, I regret to inform, that I've lost my MASTER LIST for my A FIlm A Day Project. I guess I'll just have to update my blog everyday.


~Mike

Monday, February 1, 2010

. . .and knowing is half the battle.

Maximum Data rates for the RED ONE. . . from the FAQ.


REDCODE™28 2K 2:1

RED 8GB CF - 100 fps

RED 16GB CF - 120 fps

RED-DRIVE - 120 fps

RED-RAM - 120 fps

REDCODE™28 2K 16:9

RED 8GB CF - 100 fps

RED 16GB CF - 100 fps

RED-DRIVE - 100 fps

RED-RAM - 100 fps

REDCODE™28 2K ANA

RED 8GB CF - 120 fps

RED 16GB CF - 120 fps

RED-DRIVE - 120 fps

RED-RAM - 120 fps

REDCODE™28 3K 2:1

RED 8GB CF - 50 fps

RED 16GB CF - 60 fps

RED-DRIVE - 60 fps

RED-RAM - 60 fps

REDCODE™28 3K 16:9

RED 8GB CF - 30 fps

RED 16GB CF - 50 fps

RED-DRIVE - 50 fps

RED-RAM - 50 fps

REDCODE™28 3K ANA

RED 8GB CF - 60 fps

RED 16GB CF - 60 fps

RED-DRIVE - 60 fps

RED-RAM - 60 fps

REDCODE™28 4K 2:1

RED 8GB CF - 25 fps

RED 16GB CF - 30 fps

RED-DRIVE - 30 fps

RED-RAM - 30 fps

REDCODE™28 4K HD

RED 8GB CF - 25 fps

RED 16GB CF - 30 fps

RED-DRIVE - 30 fps

RED-RAM - 30 fps

REDCODE™28 4K 16:9

RED 8GB CF - 25 fps

RED 16GB CF - 30 fps

RED-DRIVE - 30 fps

RED-RAM - 30 fps

REDCODE™28 4K ANA

RED 8GB CF - 30 fps

RED 16GB CF - 30 fps

RED-DRIVE - 30 fps

RED-RAM - 30 fps

REDCODE™28 4.5K WS

RED 8GB CF - 25 fps

RED 16GB CF - 30 fps

RED-DRIVE - 30 fps

RED-RAM - 30 fps

REDCODE™36 2K 2:1

RED 8GB CF - 75 fps

RED 16GB CF - 100 fps

RED-DRIVE - 120 fps

RED-RAM - 120 fps

REDCODE™36 2K 16:9

RED 8GB CF - 75 fps

RED 16GB CF - 90 fps

RED-DRIVE - 100 fps

RED-RAM - 100 fps

REDCODE™36 2K ANA

RED 8GB CF - 100 fps

RED 16GB CF - 120 fps

RED-DRIVE - 120 fps

RED-RAM - 120 fps

REDCODE™36 3K 2:1

RED 8GB CF - 30 fps

RED 16GB CF - 48 fps

RED-DRIVE - 60 fps

RED-RAM - 60 fps

REDCODE™36 3K 16:9

RED 8GB CF - 30 fps

RED 16GB CF - 40 fps

RED-DRIVE - 50 fps

RED-RAM - 50 fps

REDCODE™36 3K ANA

RED 8GB CF - 50 fps

RED 16GB CF - 60 fps

RED-DRIVE - 60 fps

RED-RAM - 60 fps

REDCODE™36 4K 2:1

RED 8GB CF - 25 fps

RED 16GB CF - 30 fps

RED-DRIVE - 30 fps

RED-RAM - 30 fps

REDCODE™36 4K HD

RED 8GB CF - N/A

RED 16GB CF - 25 fps

RED-DRIVE - 30 fps

RED-RAM - 30 fps

REDCODE™36 4K 16:9

RED 8GB CF - N/A

RED 16GB CF - 25 fps

RED-DRIVE - 25 fps

RED-RAM - 25 fps

REDCODE™36 4K ANA

RED 8GB CF - 25 fps

RED 16GB CF - 30 fps

RED-DRIVE - 30 fps

RED-RAM - 30 fps

REDCODE™36 4.5K WS

RED 8GB CF - N/A

RED 16GB CF - 25 fps

RED-DRIVE - 30 fps

RED-RAM - 30 fps

REDCODE™42 4K 2:1

RED 8GB CF - N/A

RED 16GB CF - 25 fps

RED-DRIVE - 25 fps

RED-RAM - 25 fps

REDCODE™42 4K HD

RED 8GB CF - N/A

RED 16GB CF - 25 fps

RED-DRIVE - 25 fps

RED-RAM - 25 fps

REDCODE™42 4K ANA

RED 8GB CF - N/A

RED 16GB CF - 25 fps

RED-DRIVE - 25 fps

RED-RAM - 25 fps

REDCODE™42 4.5K WS

RED 8GB CF - N/A

RED 16GB CF - 25 fps

RED-DRIVE - 25 fps

RED-RAM - 25 fps