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II. The RED Workflow: Postproduction
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II. The RED Workflow: Postproduction
by Noah Kadner
RED: The Ultimate Guide to Using the Revolutionary Camera
Copyright
Dedication
Acknowledgments
About the Author
Introduction
Who This Book Is For
New Owners
Longtime Owners
Editors and Postproduction Teams
Renters
Scarlet and EPIC Owners
Enthusiasts
How to Use This Book
Defining Workflow
Companion Web Site
1. The History of the Future
Assembling the Team
Technical Specs
The RED Phenomenon
Public Debut: NAB 2006
REDuser Forum
NAB 2007
RED Day
Industry Acceptance
I. Red Planning and Production
2. Overview of the RED Workflow
Comparing the RED with Other Cameras
Video
High Definition
Film
Exploring the Tapeless Workflow
Exploring the RAW Workflow
Comparisons with DSLR RAW
The REDCODE RAW Native Camera Codec
RED Files, Folders, and Proxies
Working with Metadata
Upgrading Your Firmware
First Person POV: Rodney Charters, ASC
3. Defining Your Project
Project Length
Feature Films
Documentaries
Episodic Television
Music Videos
Commercials
Short Films
Production Mode
Multiple RED Cameras
Multiple Formats
Delivery Format
Delivering in High Definition
Delivering for a Film Finish
Delivering for the Internet
Organizing Your Workflow
First Person POV: Albert Hughes
4. Building a RED Package
The RED ONE Camera Body
Optics
RED Lenses
Third-Party Prime Lenses: ARRI and Cooke
Zoom Lenses
16mm Lenses
Still Lenses
Lens Mount Adaptors
Storage Options
RED CF Cards
RED-DRIVE and RED-RAM
Matte Boxes
Filters
ND Filters
IR and Polarizing Filters
Diffusion, Softening, and Color-Correction Filters
Follow Focus and Remote Control
Tripods and Camera Support
Batteries and Power
Cases and Carts
Monitoring
Electronic Viewfinder (EVF)
Onboard Monitors
Studio Monitors
Routing
Transfer Equipment
Working Within a Budget
Scarlet and EPIC
First Person POV: Mark L. Pederson
5. Working with Sound
Why You Need Good Sound
Double-System Sound
Audio Equipment Shopping List
Microphones
Headphones
Mic Accessories
Digital Recorders
Deva
Sound Devices
Cantar
Mixers
Working with Timecode
23.98 vs. 29.97
Multi-Camera Audio
Proper Slate Etiquette
Using the Onboard Audio
Connections
Menus and Operation
Postproduction Audio Tips
First Person POV: Dean Georgopoulos
6. Exposing the Image
Exposure Concepts
Working RAW
The ASA System
Aperture
Shutter Speed/Angle
Color Temperature
External Exposure Tools
Light Meters
Waveforms and Vectorscopes
Using a Color Chart
Onboard Exposure Tools
LOOK Settings
False Color
Monochrome
SPOT METER
Histogram
ZEBRAS
First Person POV: Arthur Albert
7. Exploring Shooting Formats
Recording Quality
Choosing Resolution
4K
3K
2K
Working with Aspect Ratios
2:1
16:9
HD
Anamorphic
Choosing Time Base
24P
24.00
25
29.97
In-Camera Effects
Varispeed
Ramping
Postproduction Ramp
Time-Lapse
First Person POV: Nancy Schreiber, ASC
II. The RED Workflow: Postproduction
8. Building a Postproduction System
Choosing a Platform
Recommended Systems
Postproduction Workflows
Offline vs. Online Editing
File Formats
Native
Proxy
Transcoding
Finishing RAW vs. ‘Baked In’
Editing Software
Apple Final Cut Pro
Adobe Premiere Pro
Avid
Storage Options
JBOD
RAIDs
Monitor Options
Computer Monitors
Broadcast Monitors
Converter Cards
First Person POV: Michael Cioni
9. Using Helper Applications
RED Applications
RED Alert!
REDCINE
REDrushes
REDLine
Third-Party Applications
Crimson Workflow
Monkey Extract
Clipfinder
Color and Gamma Space
Color Space Settings
Gamma Space Settings
First Person POV: Brook Willard
10. Apple Final Cut Pro Workflow
System Requirements
Ingesting Footage
Editing
Color Correcting
Sending to Color
Using Cinema Tools
Going to Color
Sharing with Other Formats
Alternate Workflows
The Native-Wrapped Method
Ingesting
Color Correction
The Proxy Method
Ingesting
Color Correction
First Person POV: Evin Grant
11. Adobe Premiere Pro Workflow
Setting Up Your System
Ingesting Footage
Editing in Premiere Pro
Exporting Your Project
Adobe After Effects
Blu-ray
12. Avid Workflow
Setting Up Your System
Ingesting Footage
Editing in Avid Media Composer
Conforming in Avid DS
First Person POV: Michael Phillips
13. Finishing Your Project
Film Workflow
Desktop Color Correction
Apple Color
ASSIMILATE SCRATCH
IRIDAS SpeedGrade XR
Outputting for Other Formats
DVD
DVD Studio Pro
Adobe Encore
Avid DVD
Creating a DVD From RED Footage
Blu-ray
HD
Internet
First Person POV: Simon Duggan, ACS
14. Archiving Your Media
Archiving in the Field
Recommended Equipment
Transferring Footage
Offloading Utilities
Offloading via the Finder
Directory Naming Conventions
Postproduction Archiving
Initial Setup
Selective vs. Complete Archives
Working with Tape
Recommended Hardware and Software
Recommended LTO Drives
Tapes
Tape Libraries
Archiving Software
EMC Corporation Retrospect
Tolis Group BRU
Archiware PresSTORE Archive
Atempo Digital Archive
Vaulting Services
First Person POV: Greg Williams
15. Your Future with RED
Building a Business with the RED
Digital Imaging Technician/Data Wrangler
Camera Rental
Director of Photography
Editor/Postproduction Supervisor
Your Next Camera
Story First
A. Complete System Menu Map
B. RED Gallery
Glossary
Image Credits
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7. Exploring Shooting Formats
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8. Building a Postproduction System
Part II. The RED Workflow: Postproduction
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