When: Sunday, February 21, 2010
Where: 4804 Santa Monica Blvd. (2 blocks west of Vermont)
Time:
5:00pm - Prospective Member Orientation
5:45pm - Seminar (Details Below)
7:30pm - General Membership Meeting
8:30 pm- Screening of Member Work
9:00 pm- Mixer
The Red One is an exciting and innovative camera that brings 35mm quality into the hands of filmmakers who cannot afford a traditional film based workflow. Many filmmakers are intimidated by the Red One because of its unusual and "perceived complex workflow." Problems are usually related to human error and/or lack of information on how to safely manage digital negatives and extract the highest quality images from them.
This seminar will be comprised of two segments: Data Management and Image Control. We will outline which tools and procedures are necessary to safely manage data and create a look on set that will transition through post-production to the final color grade. This seminar is good for producers, directors, DP's, AC's and anyone who wants to gain insight into the Red workflow and how to make knowledgeable decisions for a production.
Outline of Seminar
Data wrangling:
-Why a Digital Loader position is a necessity and not a luxury.
-Software: commercial and free.
-Hardware: computers, hard drives, interfaces, digitizing boards.
-Prevention of lost footage through structured procedures.
Digital magazine handling.
Backing up digital negatives.
Verification of backups.
Image control:
-Understanding r3d digital negatives
-Why the Red One is a film workflow and not a video workflow.
-Software: commercial and free.
-Generating Look Up Tables (LUTs) to control the image through post production.
-Creating accurate dailies
-Creating offline media for Final Cut Pro.
-Creating offline media for Avid
-Choosing a post-production workflow (online with r3d, ProRes or DnxHD)
About Dylan O'Brien:
Dylan O'Brien is an award-winning Director of Photography who has been working with file-based cameras since their inception. He made the transition to the RED camera over a year ago when he purchased a RED camera for his work. While on set and in the editing bay, Dylan has discovered the best ways to optimize RED performance and workflows for various shooting situations.
Dylan has recently launched Peak Productions, which specializes in the RED Camera for independent productions. His goal is to work with Indies to create stunning visual imagery within any budget.
