Benefits of shooting R3D

Like with any camera that is digital/electronic, you get instantaneous results on what you are shooting through the lens. So that is a plus. Please keep in mind that the rest of this will be to discuss the benefits of RED video versus other forms of video. And this is not to be mistaken as a comparison of film versus video discussion.

Okay. So like any other independent filmmaker out there, I’ve tested a gamut of video formats and they all have their pros and their cons.

But I don’t want to get into a giant blog post about the pros and cons of all of them, cause I don’t have time and I want to edit So just benefits of R3D. Last time, I posted about specific problems of post production workflow with R3D. Well, it’s more of an obstacle/annoyance than problem.

OKAY OKAY benefits of shooting on RED. I got sidetrack with my doppleganger picture on facebook.

1.) Ability to use 16mm and 35mm gauge Lenses. (KEEP IN MIND, if you use 16mm you can only shoot at 2K resolution instead of 35mm at 4K. So you get the depth of field of 16 and 35mm without shooting on film. Also, the markings on the focus are accurate. RED allows you to do back focus but proceed with caution. Because you shouldn’t shift back focus without expert technicians. This is superior to the 35mm still lens adapters because all the focus marks are accurate and you are not just focusing off the monitor.

2.) 320 gig HD. At 4K resolution you can fit more than 3 hours of footage (depending on whether you shoot 23.98, 24, 25, 29.97, 50, or 59.94 fps). That means you most likely will not have to change your mag daily. So less time spend during the shoot prepping the camera.

3.) R3D format. I don’t exactly understand the full details of the math behind R3D format, but it is RAW. Which means that ASA, White balance… and et cetera are all metadata. This means that R3D reacts the same way as a RAW still photo. All that information can be adjusted in postproduction as if you made the decisions on set. (Of course, you still need an experienced Director of Photography to get the compositions and lighting that you want.)

4.) 4K resolution. It means, whenever I get the money, I can export 4K to a film printer and get a print of my movie that will feel like a 35mm film that went through a DI. It won’t have to feel like it was uprez’d to fit a 35mm image. (When I get the money. This process is approximately $250/min for the final 35mm print. But that’s not counting the color timing you go through for the export.)

5.) The offline edit is still in HD. I had to transcode to prorez and it took me a while. But I figured it out and I’m glad to be editing in HD still. This process is doable with other formats such as HD CAM SR. But my macbook pro did the trancoding and not an HD CAM deck. Which saved me $300/hr.

6.) It’s a cheap format to shoot on that gets you 35mm like resolution and quality.

I’m sure i’m forgetting things. But these are the reasons why shooting on the RED is beneficial to me.

RED proxy troubles

For those of you who shoot on the RED, you should be wary of a few things. Transcoding within Final Cut Studio: I have FCP2.0 and the R3D files were shot on build 20. What this means is that I cannot transcode to ProRes within FCP2.0. Because build 17+ compatibility is with FCP3.0. So what I had to do (which took me 3 days to figure out because some files transcoded in FCP2.0 and others didn’t) was to use RedRushes. It takes a mountain of time. But at least it’s working right.

So now, I have only 22 files to transcode out of 59. I know what you’re thinking. Can’t you just use the proxy files to edit? I could do that, but there are several disadvantages to editing with the proxy files.

1.) I cannot render any effects upon the proxy files. It’ll come back with an error saying the diskspace is too small

2.) I cannot output high def. You will instantly see the jagged edges of a poor anti-aliasing job on the proxy edit. In fact, if you look carefully you can tell even on the standard def output on a DVD.

3.) On my laptop it doesn’t play on in real time unless it’s in awful awful resolution. Which means that I miss certain clues about the composition and framing that prevents me from making good editing decisions.

So, I await the transcoding process. Maybe tomorrow, I will write about the benefits of shooting R3D.

While this film is being edited…

I am currently posting the very last part of my epic 50 minute landscape portrait Eight Days in Rui An. If you have some time, please go and visit the portraits at http://www.vimeo.com/user2539940/videos.

The very last portrait is being uploaded as we speak. The last one is on the Stone Jade Temple in Rui An in the mountains. We were caught up in the middle of a Typhoon breaking over eastern China. So the cloud formations are absolutely amazing.

This morning, I woke up thinking that I was late for a film or some preproduction planning meeting. Unfortunately, I just have the lonely road of post production. So you all should email me at linqiu.com@gmail.com to keep me entertained or friend me on facebook at: lin qiu

Principle photography is over!

This begins Day 01 of my Post Production. I have had the greatest time filming with all my friends this weekend. We made an 80s period piece about China in Los Angeles! A well done feat! The last day of our shoot started like the first day of Lost in La Mancha. It was pouring rain! Everyone was a trooper! We were standing in puddles of nasty back alley sewer water.

Here are some pictures to prove it. It’s in Chinese

I have included some screen captures from all 3 days of the shoot for people to enjoy.

Rehearsal / 2nd Time with selected kids

Woozy,

I’m a bit nervous this morning. I’m meeting the older couple and also the kids. Also very excited very excited to be officially one week out. Still lots to do! Get ready for pictures soon.

Save the Dates

This is officially the first post for Better Than Blue. I’m starting this blog as a way of chronicling my experiences for the short film “Better Than Blue.”

I received a fellowship from Visual Communications a nonprofit media center in Los Angeles in August of 2009. With theirs and others’ support, I will be shooting my film January 16th-18th, 2010.

The first person who lent a helping hand was my sister, Virginia. She helped as a research assistant to scan and upload all the 80s pictures we had at our house.

I’m going to upload some location scout pictures.

Location scout

Sand and Gravel plant and also Chinatown.