Category archive: RED
SALT III – High Speed Lens Shootout
Welcome to the 2013 Southland Alternative Lens Test “Wide F%$@*^G Open” Edition. This was a coordinated effort between the following individuals: Will Keir, Phil Holland, Matt Uhry, Matthew Duclos, Jeff Whitehurst, Evin Grant, Ryan Patrick O’Hara, Luke Edwards, Charlie Pickle and myself. I’d like to begin by thanking our Sponsors who not only donated their
DetailsFilm look with RED footage
I’ve been hearing a lot of complaints recently that RED looks too digital because it’s footage is so clean. There seems to be the common collective that film grain is the thing that is missing from the RED’s look. Here are several tools to give you that film grain look, as well as the emulation
DetailsWhy shoot RED? And the case for a RAW format Digital Cinema Camera
“This is the best looking footage I have ever shot, These are the best images I have ever seen!” – John Schwartzman ASC, Director of Photography The Amazing Spider Man “Epic is the best camera I have ever used”. –Darius Wolski ASC, Director of Photography Prometheus “Epic. It’s hard not to face the
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Shot on Red
I thought I’d take a second to list productions that have been captured with Red Digital Cinema camera’s. There are far too many to list but here are a few: FEATURE FILMS: Upcoming: *42 (The Jackie Robinson Story) * Flight (Rob Zemeckis/Denzel Washington) * Hitchcock (Biopic) * Oz the Great and Powerful * Total Recall
DetailsRed R3D Workflow Diagram
There seems to be a common misunderstanding of how to deal with RED footage that ultimately sways clients to go for other digital camera systems. Time and time again I hear complaints of how difficult things are workflow wise. Think about this, if you shoot on a dslr you must first transcode the footage into
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