Click here to go to the first RED TEAM post in this thread.   Thread: Red Camera Motion Picture Examples And 4k Workflow

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  1. #21  
    Quote Originally Posted by Deanan View Post
    To get around the strobe issue, the duration of your strobe needs to be closer to a 24th of a second and synced to your shutter so you don't flash the strobe in the middle of a frame exposure.
    Are there any strobes that have a light output duration of 1/24 sec? I don't know of any electronic single-pulse system like that. Of course there are high-speed multiflash modes that go for much longer, but that's going to produce thin horizontal bars in the image, if I understand how the shutter works. To get real continuous light for 1/24 sec I'm thinking you might have to go old-school, like pyro - flash powder.

    If I had to build an electronic system to deliver 1/24 second flash I'd probably use high-output LEDs. For short pulses they can do more than the steady-state output. In fact, if the rolling shutter is a fixed design feature of Red, then I bet there's soon going to be a market for such "slow flash" units.

    On the other hand, maybe I'm worrying too much. I guess the flash in music videos is there just to "look cool" and if the intended audience thinks that fractional-frame flashes are just as cool (or better) than the old look, why bother fixing it.

    Come to think of it, I guess you could create flash-frames just as easily in post.
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  2. #22  
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    I agree that it might not be a problem for a music video like this, but a rolling shutter in general can be fairly inconvenient.

    But, yeah, if you can get away with it-- go for it!
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  3. #23  
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    Quote Originally Posted by Haskell View Post
    This explains the clipping of the gun fire in the "Crossing the Line"...when I watched it frame by frame I noticed it but when watching real time with sound fx etc you really dont notice as much.

    In this music video clip I noticed it right away even though I really enjoyed this clip Marc, some of my favorite stuff I have seen so far. Look forward to seeing more!

    Best

    Thanks so much. The video is being cut in avid right now. 2 hours of red code took my 8core 3ghz just over 30 hours to downconvert to SD so I could get it out to dbeta. No crashes at all thank god. I hope redcode works with FCP soon. I will get the edit back on monday, do a pass with color and post here. I was toying with shooting RED on a beer spot here in Toronto but the execs are skeptical and I dont want to give RED a bad rep right out of the gate. More testing is needed.
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  4. #24  
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    Quote Originally Posted by Haskell View Post
    This explains the clipping of the gun fire in the "Crossing the Line"...when I watched it frame by frame I noticed it but when watching real time with sound fx etc you really dont notice as much.

    In this music video clip I noticed it right away even though I really enjoyed this clip Marc, some of my favorite stuff I have seen so far. Look forward to seeing more!

    Best
    So those gun flashes were not composited, right? How were muzzles created?
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  5. #25  
    Quote Originally Posted by Marc Bachli View Post
    Thanks so much. The video is being cut in avid right now. 2 hours of red code took my 8core 3ghz just over 30 hours to downconvert to SD so I could get it out to dbeta. No crashes at all thank god. I hope redcode works with FCP soon. I will get the edit back on monday, do a pass with color and post here. I was toying with shooting RED on a beer spot here in Toronto but the execs are skeptical and I dont want to give RED a bad rep right out of the gate. More testing is needed.

    30 hours? Marc that's nuts. Correct me if I am wrong but that's like 15 to 1. So much for run and gun and leaving footage with a producer at the end of the day. Maybe you should finish on Film. :)

    method
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  6. #26  
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    Ya I wish Redcode worked with my FCP setup. Then I could have downcoverted in real time with the KONA 3. Next time.
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  7. #27  
    Hey Marc, educate me a little,

    I didn't know that the Kona did 4K or am I missing the point? Would you mind explaining your intended workflow? Any info would be appreciated.

    Thanks

    Method
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  #28  
    Quote Originally Posted by Abu Reno View Post
    So those gun flashes were not composited, right? How were muzzles created?
    All gun flashes (and shell ejections) are real in that short....

    Keeping the shutter the same as the framerate (or multiples there of) or the keep them both in sync with what ever flashing is going on (if you can control it) should yield superior results I think.
    ROBCODE Santa Claus @ RED

    "You get the chicken by waiting for the egg to hatch, not by smashing it with a hammer" - Jarred
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  9. #29  
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    Quote Originally Posted by Method View Post
    Hey Marc, educate me a little,

    I didn't know that the Kona did 4K or am I missing the point? Would you mind explaining your intended workflow? Any info would be appreciated.

    Thanks

    Method
    Well the workflow seems to change weekly as Red is doing a great job making the software more user friendly. Kona cannot do 4k but redalert cannot out a 4K quicktime, only 2K and the kona can do 2K. The red raw codec now seems to work great FCP6.

    1. Shoot 4K
    2. Import into RedAlert (untill redcine is available)
    3. do a grade in 4k
    4. Save grad, make proxy at 2K in Redalert
    5. Import 2K proxy into FCP6
    6. Quick render in FCP6 / use the Kona 3 to do a 2K crop so you can output and monitor 1080Psf
    7. Be very thankfull that this all kinda works finally
    8. collect paycheck
    9. Do it all again but hopefully with new builds and bugs
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  10. #30  
    So can we expect to see this problem manifest itself on most quick flashes of light quicker than 1/24th of a second? Gunfire, explosions, quick lens flares, how about live music events and such will these all be problematic?
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