This may be a long thread. If you are not familiar with the feature film production process, much of this may not make much scense.
So you know where I am coming from, my name is Mark L. Pederson, I am an independent film producer, technology and workflow fanatic, consultant, college professor at the School of Visual Arts, dreamer and schemer. Four years ago I co-founded a company called OFFHOLLYWOOD DIGITAL. More of the backstory can be found here:
My company has RED ONE #6 & #7, and those are the very first two cameras outside of the RED TEAM, so, I am a believer from day one. I do not work for RED. I had the priveledge of being asked to help out in the NAB booth last year because ... well, folks say I talk alot. And very "enthusiastically". I was asked back to help in the IBC booth and hopefully, I will be asked to help in the NAB 2007 booth as well (hint hint). I am sure I have met a number of REDUSERS at those shows and I hope to meet more of you.
MY DATA CENTRIC VISION
I was going to type this up and send it to the RED TEAM, but them I thought - they are pretty damn busy - why not "beta test" the concept in a thread on REDUSER and see what folks think first.
Here's the basic concept:
DATA CENTRIC FROM PRE-PRODUCTION TO DELIVERY
When RED annouced REDCINE I got all crazy and excited - "hey, a super smart guy like Graeme is going to make us a work-flow app we can use with the camera" - so, I started brainstorming features I wanted to see in the app. Around the same time, we put a SCRATCH system in our facility, and it has taken much of our pain away and got us hooked on using DATA effectively in a pipeline.
REDCINE is a tool for going between ACQUISITION (the RED ONE camera)and POST PRODUCTION (whatever NLE or VFX software or DI system) - it will also allow you to create offline versions for editing and then allow you to "match back" or PULL just the media you want from your original REDCODE RAW media (your camera "negative" if you will)
This is awesome. And some bells and whistles for us post guys will surely make this a killer tool.
Now, let's take this all a step further.
To keep this thread short let's focus on FEATURE FILM WORKFLOW and I will SKIP over PRE PRODUCTION for the moment - but there is some INDUSTRY STANDARD DATA here created in the SCRIPT BREAKDOWN PROCESS - used in the PRODUCTION SCHEDULE, and used by the SCRIPT SUPERVISOR to gather DATA for the EDITOR.
The motion picture industry has done an amazing job over the years of making PRODUCTION and POST PRODUCTION very, very seperate processes. I can think of a thousand examples - "we'll fix it in post", etc.
Enter Final Cut Pro. Desktop tools. Now, all the filmmakers, DPs and even producers say - I can do some of this myself. So the line starts to blurr. Now the DPs want to own DI software. I don't blame 'em - powerful DI tools can do amazing things. Things in POST are changing.
HOWEVER, what is changing on the set? Not a whole lot.
Think for a moment about how DATA is collected on a movie set during the production process:
Paperwork. Bad. Digital data: Good.
Now, imagine the camera assistant has little device - let's call it REDSLATE - it's about the same size as a Blackberry and it uses BLUETOOTH to the RED ONE (or REDTOOTH).
The Camera Assistant asks the SCRIPT SUPERVISOR what scene is up - the script supervisor looks down at her REDSCRIPTY - this is a TABLET touchscreen, with virtual keyboard interface transparently superimposed over ... the SCRIPT
the Script Superviser touches the SCENE NUMBER - which transmits to the AC's REDSLATE and he adds whatever additional data the DP asks for - this transmits to the CAMERA - AND to REDSCRIPTY.
No stopwatch for this Script Supervisor - when you cut, the camera TRANSMITS the END TIME CODE to REDSCRIPTY -
See where I am going with this ...
Unfortunately, work calls so I will see you in PART 2 -
Love to know thoughts -