More About The RED Camera

 

 

We believe the RED Camera and digital film workflows will change our industry.  A disruptive influence, with disruption comes opportunity and confusion. 

Join Ted Schilowitz (RED) Lucas Wilson (Assimilate), and David Sconyers (Key Code Media) discuss Red acquisition, workflow and finishing.  Included are key differences between the main professional tools which integrate with the Red files.  You will receive unbiased discussion on the trade offs within the workflow and the management of files.

Recording raw data allows white balance, gamma and other image processing parameters like sharpening to be set during post production.  Now that the workflow is so heavily tilted towards post, cinematographers  tools and processes will change.

***Director Steven Soderbergh has shot his two features recently screened at the Cannes Film Festival: Guerrilla and The Argentine entirely with the Red One camera. Soderbergh is very enthusiastic about the camera, saying that “this is the camera I’ve been waiting for my whole career: jaw-dropping imagery recorded onboard a camera light enough to hold with one hand. I don’t know how Jim and the Red team did it—and they won’t tell me—but I know this: Red is going to change everything” Real-time, continuous, one-take demonstration of the RED workflow
Open 4K files directly in QuickTime Player, in real-time
Drop 4K files directly into Final Cut Pro
No rendering, no transcoding.

Check out the Red Mythbusters and download the podcast or quicktime file here. Also view the Red Camera Workflow Avid Media Composer Tutorial video here.

 

  

 ***”Steven Soderbergh to shoot “The Argentine” and “Guerrilla”, starring Benecio del Toro, exclusively with RED cameras”. Red News (2007-07-5)