RED : the ultimate guide to using the revolutionary camera
With the release of the RED ONE™ digital cinema camera, the possibility of recording stunning, cinematic-quality images with an affordable camera became a reality. Now that the industry has embraced the nascent technology and added new tools and workflows, filmmakers—from independents on up—are lead...
| Other Authors: | |
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| Format: | eBook |
| Language: | Inglés |
| Published: |
[Place of publication not identified]
Peachpit Press
2009
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| Edition: | 1st edition |
| Subjects: | |
| See on Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009629022906719 |
Table of Contents:
- Cover
- Contents
- Introduction
- CHAPTER 1: The History of the Future
- Assembling the Team
- Technical Specs
- The RED Phenomenon
- Public debut: NAB 2006
- REDuser forum
- NAB 2007
- RED Day
- Industry acceptance
- CHAPTER 2: Overview of the RED Workflow
- Comparing the RED with Other Cameras
- Video
- High definition
- Film
- Exploring the Tapeless Workflow
- Exploring the RAW Workflow
- Comparisons with DSLR RAW
- The REDCODE RAW native camera codec
- RED files, folders, and proxies
- Working with Metadata
- Upgrading Your Firmware
- First Person POV: Rodney Charters, ASC
- CHAPTER 3: Defining Your Project
- Project Length
- Feature films
- Documentaries
- Episodic television
- Music videos
- Commercials
- Short films
- Production Mode
- Multiple RED cameras
- Multiple formats
- Delivery Format
- Delivering in high definition
- Delivering for a film finish
- Delivering for the Internet
- Organizing Your Workflow
- First Person POV: Albert Hughes
- CHAPTER 4: Building a RED Package
- The RED ONE Camera Body
- Optics
- RED lenses
- Third-party prime lenses: ARRI and Cooke
- Zoom lenses
- 16mm lenses
- Still lenses
- Lens mount adaptors
- Storage Options
- RED CF cards
- RED-DRIVE and RED-RAM
- Matte Boxes
- Filters
- ND filters
- IR and polarizing filters
- Diffusion, softening, and color-correction filters
- Follow Focus and Remote Control
- Tripods and Camera Support
- Batteries and Power
- Cases and Carts
- Monitoring
- Electronic viewfinder (EVF)
- Onboard monitors
- Studio monitors
- Routing
- Transfer Equipment
- Working Within a Budget
- Scarlet and EPIC
- First Person POV: Mark L. Pederson
- CHAPTER 5: Working with Sound
- Why You Need Good Sound
- Double-System Sound
- Audio Equipment Shopping List
- Microphones
- Headphones
- Mic accessories.
- Digital recorders
- Mixers
- Working with Timecode
- 23.98 vs. 29.97
- Multi-camera audio
- Proper slate etiquette
- Using the Onboard Audio
- Connections
- Menus and operation
- Postproduction Audio Tips
- First Person POV: Dean Georgopoulos
- CHAPTER 6: Exposing the Image
- Exposure Concepts
- Working RAW
- The ASA system
- Aperture
- Shutter speed/angle
- Color temperature
- External Exposure Tools
- Light meters
- Waveforms and vectorscopes
- Using a color chart
- Onboard Exposure Tools
- LOOK settings
- False color
- Monochrome
- Spot meter
- Histogram
- Zebras
- First Person POV: Arthur Albert
- CHAPTER 7: Exploring Shooting Formats
- Recording Quality
- Choosing Resolution
- 4K
- 3K
- 2K
- Working with Aspect Ratios
- 2:1
- 16:9
- HD
- Anamorphic
- Choosing Time Base
- 24p
- 24.00
- 25
- 29.97
- In-Camera Effects
- Varispeed
- Ramping
- First Person POV: Nancy Schreiber, ASC
- CHAPTER 8: Building a Postproduction System
- Choosing a Platform
- Recommended systems
- Postproduction Workflows
- Offline vs. online editing
- File formats
- Finishing RAW vs. 'baked in'
- Editing Software
- Apple Final Cut Pro
- Adobe Premiere Pro
- Avid
- Storage Options
- JBOD
- RAIDs
- Monitor Options
- First Person POV: Michael Cioni
- CHAPTER 9: Using Helper Applications
- RED Applications
- RED Alert!
- REDCINE
- REDrushes
- REDLine
- Third-Party Applications
- Crimson Workflow
- Monkey Extract
- Clipfinder
- Color and Gamma Space
- Color space settings
- Gamma space settings
- First Person POV: Brook Willard
- CHAPTER 10: Apple Final Cut Pro Workflow
- System Requirements
- Ingesting Footage
- Editing
- Color Correcting
- Sending to Color
- Using Cinema Tools
- Sharing with Other Formats
- Alternate Workflows
- The native-wrapped method
- The proxy method.
- First Person POV: Evin Grant
- CHAPTER 11: Adobe Premiere Pro Workflow
- Setting Up Your System
- Ingesting Footage
- Editing in Premiere Pro
- Exporting Your Project
- Adobe After Effects
- Blu-ray
- CHAPTER 12: Avid Workflow
- Setting Up Your System
- Ingesting Footage
- Editing in Avid Media Composer
- Conforming in Avid DS
- First Person POV: Michael Phillips
- CHAPTER 13: Finishing Your Project
- Film Workflow
- Desktop Color Correction
- Apple Color
- ASSIMILATE SCRATCH
- IRIDAS SpeedGrade XR
- Outputting for Other Formats
- DVD
- Blu-ray
- HD
- Internet
- First Person POV: Simon Duggan, ACS
- CHAPTER 14: Archiving Your Media
- Archiving in the Field
- Recommended equipment
- Transferring footage
- Postproduction Archiving
- Initial setup
- Selective vs. complete archives
- Working with tape
- Recommended Hardware and Software
- Tapes
- Tape libraries
- Archiving software
- Vaulting Services
- First Person POV: Greg Williams
- CHAPTER 15: Your Future with RED
- Building a Business with the RED
- Digital imaging technician/data wrangler
- Camera rental
- Director of photography
- Editor/postproduction supervisor
- Your Next Camera
- Story First
- APPENDIX A: Complete System Menu Map
- APPENDIX B: RED Gallery
- Glossary.
