RED : the ultimate guide to using the revolutionary camera

Format:

Book

Author/Creator:

Kadner, Noah, Author.

Language:

English

Subjects (All):

Red One motion picture cameras.

Physical Description:

1 online resource (xix, 339 p.) : ill.

Edition:

1st edition

Place of Publication:

[Place of publication not identified] Peachpit Press 2009

Language Note:

English

System Details:

text file

Summary:

With the release of the RED ONE™ digital cinema camera, the possibility of recording stunning, cinematic-quality images with an affordable camera became a reality. Now that the industry has embraced the nascent technology and added new tools and workflows, filmmakers—from independents on up—are leading the charge on establishing new rules. Here to guide newcomers and RED veterans alike, popular trainer and filmmaker Noah Kadner picks up where the manual leaves off. You’ve got the basic operations down and now you’ll learn how to use the camera in a production environment and discover the various options in post. Using a clear, objective approach, he offers best-practice advice on utilizing RED’s proprietary tools, explains the workflows for Final Cut Studio, Avid, and Premiere Pro, and gives workaround solutions where needed. Well-known filmmakers and industry leaders share their own bleeding-edge production methodologies throughout, offering a rare view into this exciting new world of filmmaking. Here are just a few things you’ll learn to do: •Build a RED package that fits your budget •Set up for sound recording and learn which audio tools to use •Achieve the optimal exposure using RED’s onboard tools and external gear •Edit your footage with step-by-step instructions for Avid, Final Cut Pro, and Premiere Pro •Work color correction into your HD, film, or Web projects •Prep your project for output and archive your footage •Learn from pros such as Rodney Charters, ASC (DP, 24 ), Simon Duggan, ACS (DP, Knowing ), Albert Hughes (Director, The Book of Eli ), and many others using RED •Stay up-to-date and download additional resources at the companion Web site at www.peachpit.com/red "If you want to dive in and starting using the RED, look no further. This book is the next best thing to having a top-notch production crew with RED experts working by your side." —Arthur Albert, Director of Photography, ER "An essential guide loaded with knowledge, I recommend it as the first purchase for any filmmaker who is thinking about owning or currently owns the RED." —Rodney Charters, ASC, Director of Photography, 24 "If you're planning to shoot with the RED camera, this is the book to get!" —Rob Cohen, Director, The Fast and the Furious "Noah Kadner takes the best practices of using the RED camera and shares them with the rest of us in this indispensable guide." —Simon Duggan, ACS, Director of Photography, Live Free or Die Hard, Knowing "Written in an...

Contents:

Cover

Contents

Introduction

CHAPTER 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

CHAPTER 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

CHAPTER 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

CHAPTER 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

CHAPTER 5: Working with Sound

Why You Need Good Sound

Double-System Sound

Audio Equipment Shopping List

Microphones

Headphones

Mic accessories.

Digital recorders

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

CHAPTER 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

CHAPTER 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

First Person POV: Nancy Schreiber, ASC

CHAPTER 8: Building a Postproduction System

Choosing a Platform

Recommended systems

Postproduction Workflows

Offline vs. online editing

File formats

Finishing RAW vs. 'baked in'

Editing Software

Apple Final Cut Pro

Adobe Premiere Pro

Avid

JBOD

RAIDs

Monitor Options

First Person POV: Michael Cioni

CHAPTER 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

CHAPTER 10: Apple Final Cut Pro Workflow

System Requirements

Ingesting Footage

Editing

Color Correcting

Sending to Color

Using Cinema Tools

Sharing with Other Formats

Alternate Workflows

The native-wrapped method

The proxy method.

First Person POV: Evin Grant

CHAPTER 11: Adobe Premiere Pro Workflow

Setting Up Your System

Editing in Premiere Pro

Exporting Your Project

Adobe After Effects

Blu-ray

CHAPTER 12: Avid Workflow

Editing in Avid Media Composer

Conforming in Avid DS

First Person POV: Michael Phillips

CHAPTER 13: Finishing Your Project

Film Workflow

Desktop Color Correction

Apple Color

ASSIMILATE SCRATCH

IRIDAS SpeedGrade XR

Outputting for Other Formats

DVD

Internet

First Person POV: Simon Duggan, ACS

CHAPTER 14: Archiving Your Media

Archiving in the Field

Recommended equipment

Transferring footage

Postproduction Archiving

Initial setup

Selective vs. complete archives

Working with tape

Recommended Hardware and Software

Tapes

Tape libraries

Archiving software

Vaulting Services

First Person POV: Greg Williams

CHAPTER 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

APPENDIX A: Complete System Menu Map

APPENDIX B: RED Gallery

Glossary.

Notes:

Bibliographic Level Mode of Issuance: Monograph

Description based on publisher supplied metadata and other sources.

ISBN:

9786612432804

9780132104739

0132104733

9781282432802

128243280X

9780321657763

0321657764

OCLC:

1027178322