Editors See Red Digital Workflow Demonstrated At Guild Seminar Room -Bobby Bose File Editor
In late, July 25, Dan Duran and Brian Henderson of RED Digital Cinema came to the Editors Guilds Seminar Room at the Los Angeles offices to present an overview of RED post production workflow to a capacity audience of editors and assistant editors. Guild Board member and training committee head Suhail F. Kafity, MPSE, introduced the RED experts who would demonstrate the RED workflow from ingest to grading, as well as transcoding and export to various nonlinear editing (NLE) systems.
Henderson of RED Studios in Hollywood gave the floor to Duran, who works with the RED Bomb Squad in Orange County. Duran started with clips from shows shot on the three RED Digital Cinema cameras: the RED One, the Epic and the Scarlet. Among the clips were scenes from Pirates of the Caribbean: On Stranger Tides, The Social Network,Winters Bone, Rabbit Hole and Source Code.
BOBBY BOSE The owner of NEI India. He is Film Editor with 15 yrs of Experience in Films and Television To read more about bobby bose film editor & nei india film & tv editing institute kindly visit www.neiindia.com
For the demonstration, the RED experts brought in a system using a RED Rocket card coupled with solid-state drives. Projecting the systems interface on the seminar rooms screen, Duran went on to show how to work with the native R3D 5K files on REDCINE-X software. Five years ago, if you were given a RED file, there wasnt much you could do with it, Duran said. A lot has changed since then.
The work flow starts by shooting RED camera footage on either Compact Flash (CF) cards or the RED Drive. The RED camera generates native raw R3D files and QuickTime proxy files for editorial. The raw R3D files are then brought into your NLE system.
The resolution of the image is what makes RED different. The maximum resolution currently offered by RED is 5K, and a 5K file can be saved on a solid-state drive. Using the REDCINE-X Pro-14 as reference, Duran demonstrated how any adjustments needed could be made and saved in RED Meta Data (RMD) files. You have the option to do all the micro-adjustments and fine tuning of the different pictorial settings in RED before you bring the files into your editing system.
The file size limitation of the drive or the Compact Flash card formatting allows only file sizes of 4 GB or less. If, in the process of recording, it creates files that exceed the 4 GB file limitation, it will break up the media files into 4 GB sizes. But, when you bring this into the editing system, it will link up the files so they play together as if they were one long file.
The Search Bins on the REDCINE-X Pro are like those of both Avid Media Composer and Adobe Premiere. With the Browser and Project Windows open, you can go to the Meta Data Box which will have everything you need to know about the shot. At least 90 percent of the meta data is entered automatically in camera but, if necessary, you can fill in scene and take numbers in the Meta Data Box.
RED Rocket allows you to play back material in real time. Clicking M on the Project Window shows what the camera recorded. Clicking D shows you that shot with the Look Up Table (LUT) applied.
The RED Bomb Squad expert then ran through all the ways adjustments to the shot could be made. Duran went throughthe buttons of the Look Manager interface one by one to demonstrate which settings could be applied to the shots.
Bobby Bose film Editor. Film and Television editor Mr. Bobby Bose , who is being nominated for many international To read more about bobby bose film editor & nei india film & tv editing institute kindly visit www.neiindia.com
The Command History facilitates transition to views of earlier states of the material. Look Pre-set is where the look is created and can be applied to any or all shots. Look Memories can be previewed and then applied. The FLUT provides a floating point which allows fine tuning while preserving shadows and highlights. There are also a Dynamic Range Extender (DRX), Look Curve and Framing Pre-Set.
With the Look Manager, you can record two different exposures of the same shot and later review both the standard and alternate exposure of the same shot. With Auto Match, you can go where the audio is saved and it will do rate override. As long as the audio is set to the camera, the audio will sync up automatically.
Duran also noted that EDLs and XMLs can import into RED applications from Avid or Adobe Premiere and will show up the same way as in the NLEs.
The rest of the session covered the transcoding and export of RED files to Avid and Adobe Premiere. There was not enough time to cover the same process for Final Cut Pro.
There are a number of ways that RED files can be transcoded to other file formats. For all of them, you have to choose format, resolution and Debayer settings. A lower resolution file will allow quicker transcoding. Then you determine output location. Software scaling provides a means to restrict range and make handles. The software also has 3D capability.
For importing, Avid Media Composer 5.5 can natively read R3D raw files through the Avid Media Access (AMA) architecture. You can import batch clips or single clips directly using AMA. All meta and white-balance data is transferred throughout the post process and can be adjusted within Media Composer directly. Media Composer 6 allows you to both ingest and transcode.
Film Editing Glossary by BOBBY BOSE FILM EDITOR is the son of a prominent film maker Late Dilip Bose, and is basically an editor To read more about bobby bose film editor & nei india film & tv editing institute kindly visit www.neiindia.com
At the beginning of the program, Duran asked how many in the audience had worked with RED. Only a few hands were raised. Reflecting the feelings of many, assistant editor Jim Carretta said at the close of the seminar, I wanted an overview of what I need to learn if I were to work on RED. Also reflecting the audience reaction, picture editor John Butler said, Now I have a rudimentary understanding of the RED Camera system and how it functions and interacts with Avid and Premiere.
As a follow-up to this introductory demo seminar, RED and ASSIMILATE Digital Work Flow experts will present an in-depth, hands-on demonstration of RED post work flow for Guild members on Tuesday evening, August 28, at RED Studios in Hollywood. See the Guild website homepage for more details.
For more visit : http://www.bobbybosefilmeditor.com
For more visit : http:/www.neiindia.com
Article Source : https://www.editorsguild.com/FromTheGuild.cfm?FromTheGuildid=330
Henderson of RED Studios in Hollywood gave the floor to Duran, who works with the RED Bomb Squad in Orange County. Duran started with clips from shows shot on the three RED Digital Cinema cameras: the RED One, the Epic and the Scarlet. Among the clips were scenes from Pirates of the Caribbean: On Stranger Tides, The Social Network,Winters Bone, Rabbit Hole and Source Code.
BOBBY BOSE The owner of NEI India. He is Film Editor with 15 yrs of Experience in Films and Television To read more about bobby bose film editor & nei india film & tv editing institute kindly visit www.neiindia.com
For the demonstration, the RED experts brought in a system using a RED Rocket card coupled with solid-state drives. Projecting the systems interface on the seminar rooms screen, Duran went on to show how to work with the native R3D 5K files on REDCINE-X software. Five years ago, if you were given a RED file, there wasnt much you could do with it, Duran said. A lot has changed since then.
The work flow starts by shooting RED camera footage on either Compact Flash (CF) cards or the RED Drive. The RED camera generates native raw R3D files and QuickTime proxy files for editorial. The raw R3D files are then brought into your NLE system.
The resolution of the image is what makes RED different. The maximum resolution currently offered by RED is 5K, and a 5K file can be saved on a solid-state drive. Using the REDCINE-X Pro-14 as reference, Duran demonstrated how any adjustments needed could be made and saved in RED Meta Data (RMD) files. You have the option to do all the micro-adjustments and fine tuning of the different pictorial settings in RED before you bring the files into your editing system.
The file size limitation of the drive or the Compact Flash card formatting allows only file sizes of 4 GB or less. If, in the process of recording, it creates files that exceed the 4 GB file limitation, it will break up the media files into 4 GB sizes. But, when you bring this into the editing system, it will link up the files so they play together as if they were one long file.
The Search Bins on the REDCINE-X Pro are like those of both Avid Media Composer and Adobe Premiere. With the Browser and Project Windows open, you can go to the Meta Data Box which will have everything you need to know about the shot. At least 90 percent of the meta data is entered automatically in camera but, if necessary, you can fill in scene and take numbers in the Meta Data Box.
RED Rocket allows you to play back material in real time. Clicking M on the Project Window shows what the camera recorded. Clicking D shows you that shot with the Look Up Table (LUT) applied.
The RED Bomb Squad expert then ran through all the ways adjustments to the shot could be made. Duran went throughthe buttons of the Look Manager interface one by one to demonstrate which settings could be applied to the shots.
Bobby Bose film Editor. Film and Television editor Mr. Bobby Bose , who is being nominated for many international To read more about bobby bose film editor & nei india film & tv editing institute kindly visit www.neiindia.com
The Command History facilitates transition to views of earlier states of the material. Look Pre-set is where the look is created and can be applied to any or all shots. Look Memories can be previewed and then applied. The FLUT provides a floating point which allows fine tuning while preserving shadows and highlights. There are also a Dynamic Range Extender (DRX), Look Curve and Framing Pre-Set.
With the Look Manager, you can record two different exposures of the same shot and later review both the standard and alternate exposure of the same shot. With Auto Match, you can go where the audio is saved and it will do rate override. As long as the audio is set to the camera, the audio will sync up automatically.
Duran also noted that EDLs and XMLs can import into RED applications from Avid or Adobe Premiere and will show up the same way as in the NLEs.
The rest of the session covered the transcoding and export of RED files to Avid and Adobe Premiere. There was not enough time to cover the same process for Final Cut Pro.
There are a number of ways that RED files can be transcoded to other file formats. For all of them, you have to choose format, resolution and Debayer settings. A lower resolution file will allow quicker transcoding. Then you determine output location. Software scaling provides a means to restrict range and make handles. The software also has 3D capability.
For importing, Avid Media Composer 5.5 can natively read R3D raw files through the Avid Media Access (AMA) architecture. You can import batch clips or single clips directly using AMA. All meta and white-balance data is transferred throughout the post process and can be adjusted within Media Composer directly. Media Composer 6 allows you to both ingest and transcode.
Film Editing Glossary by BOBBY BOSE FILM EDITOR is the son of a prominent film maker Late Dilip Bose, and is basically an editor To read more about bobby bose film editor & nei india film & tv editing institute kindly visit www.neiindia.com
At the beginning of the program, Duran asked how many in the audience had worked with RED. Only a few hands were raised. Reflecting the feelings of many, assistant editor Jim Carretta said at the close of the seminar, I wanted an overview of what I need to learn if I were to work on RED. Also reflecting the audience reaction, picture editor John Butler said, Now I have a rudimentary understanding of the RED Camera system and how it functions and interacts with Avid and Premiere.
As a follow-up to this introductory demo seminar, RED and ASSIMILATE Digital Work Flow experts will present an in-depth, hands-on demonstration of RED post work flow for Guild members on Tuesday evening, August 28, at RED Studios in Hollywood. See the Guild website homepage for more details.
For more visit : http://www.bobbybosefilmeditor.com
For more visit : http:/www.neiindia.com
Article Source : https://www.editorsguild.com/FromTheGuild.cfm?FromTheGuildid=330
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