Angelo Lorenzo
Forum Replies Created
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I’m curious myself. The CIE X’Y’Z’ conversion matrix is well known, and then you add some tweaks for the reference white and 2.6k gamma and the conversion should be near the same. There may be some ever so slight differences, and perhaps some quality differences in the algorithm, so it makes me curious as to which produces the “best result”.
https://www.hdforindies.com/2005/04/digital-cinema-summit-day-one-raw is a cute little read.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
I disagree with John; I think he’s picturing a set up that is FAR more ambitious than I do.
– Choosing flats over location, I think is more of an issue with set dressing. I’d place a green screen outside of either and do fine. If you shoot on location, you may want some additional lighting to bump up the green outside the windows if you’re on the shadow side of the building. Green screen usually keys best if it spots +/- 1 stop from your ambient; this is assuming you’re night lighting too high or low key.
– How big are these windows?
– I assume you’ll be on a mix of lenses, so I would place tracking markers at two depths: I would put an orange tennis ball on a green pole about a foot outside the window, and I would put some dark green tape X’s as tracking markers on the green screen and place it 6 + ft out from the window.
This set up won’t allow for a really push-button key (you’ll have to roto a bit) but having tracking markers at two different depths will help you track parallax. You could have foreground elements and then a background plate projected in the distance.
– Depending on how tight your tacking shot is, you can mask your actor out of the frame and run the camera move through a camera tracker. After Effects has some 3d camera tracking plugins available, Maya includes Match Mover (excellent, used it to insert 3d characters into live action footage for tv commercials), Synth Eyes, and so forth. You can use that move to track a camera over a background plate and then use that animation in the key.
This stuff is a bit difficult technically, but it’s not wildly expensive. You rarely need motion control rigs for simple compositing like this.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
Also “Replace with…” should work in general. By default, it’ll select files with a matching extension, you’ll just need to select “all files”.
Since RED clips are spanned across multiple files, though, “Replace with” doesn’t really work in Premiere. If you have After Effects then you can conform a timeline using “replace with” and it works as intended with all the spanned clips acting as one long clip.
As to why some files don’t link, it may be because the old version of Redcine X didn’t tag a reel name in the metadata.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
I don’t know how well this will work with complex timelines or timelines where you’ve mixed proxy and original footage, so take it with some trepidation.
– In Premiere go to File > Export Final Cut XML
– In Redcine-X go to File > Import, select the directories where your original Red footage lies (you don’t have to go too deep so you can point it to a project folder if it’s all in there). Hit import and it will prompt you to load the xml file.
This will create a Redcine Bins and Timelines that mirror your XML file.
– In Redcine-X, color grade if you please
– In Premiere, import the XML file into your current project and open the timeline. All black huh? Ctrl+a your timeline so all clips are selected and in the menu, go to Clip > Remove Effects and select Motion. There is a bug (unless they fixed it in the absolute most recent version) where the clips come in the timeline as 0% scale, and that step fixes it.
Be warned that the XML process may strip some transitions and effects but, overall, it’s one of the fastest ways to conform a timeline to original footage.
This program I created may also be of some use in terms of stripping the R3D adjustments made in Premiere and solely relying on adjustments you’ve made in Redcine X that are saved to RMD files https://www.fallenempiredigital.com/blog/2012/07/29/batch-reload-redcine-x-rmd-raw-adjustments-in-adobe-premiere-pro/
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
I’m using it. I have the $50 a month plan so I’m tied into it for a year. I’m not sure if they were running the cross license $30 a month promotion or whatever you’re mentioning.
I did the math and it almost breaks even. If you go through two upgrades (and yes, Creative Cloud is the most up to date, no upgrade fees so far as I can tell) and off-the-shelf upgrades are $1050 while Creative Cloud would be $1200($50*24) but you get some cloud storage a few extra fun things.
Plus, I’d imagine if you live in the US that the cloud subscription is better for your taxes since you can deduct the whole thing as a subscription, rather than depreciate it year after year.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
You’re probably aiming too high. Everything I’ve read (and it’s minimal) when it comes to sound design for iphones and so on suggest even rolling off frequencies below 50-100Hz so the external speaker has a better time reproducing the frequencies it’s optimized for.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
Open a new project in Premiere. In your media bin right click and select import. Import the corrupted Premiere Pro Project. This works more often than not, especially if you’re having no issues opening it in AE.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
Do you have the video and audio both selected? Are they both on unlocked tracks? You should have the link option.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
Well $1000/100 hours = $10 an hour. I would say that’s underpaid when you consider you’re a skilled technician.
It’s politics though. I have friends I work for at a reduced rate because their jobs have lower budgets but give me more work total. When they do land larger jobs with commercial clients, I’m the first one on their list and they’re happy I charge my normal day rate along with expenses, prep days, and so on. He’ll let me borrow gear and use his production insurance on my personal projects without hesitation. It sweetens the deal.
You shouldn’t erode what you’re worth though. Consider turning down some of his lower/no pay jobs if you think spending those hours finding higher paid work is more valuable to you. If he is a steady paycheck, you’ll have to be gentle with that transition if you do make it.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
Some reading to get you started. I’d type a lengthier opinion but I should stop goofing off and get back to editing :/
https://prolost.com/blog/2005/1/26/color-correction-in-linear-vs-gamma-corrected-space.html
https://prolost.com/blog/2010/1/26/color-correcting-canon-7d-footage.html
I tend to agree with Stu’s posts. I try and noise reduce as early in the pipeline as possible. In terms of rendering it out before applying color finesse… I think that depends on how powerful your computer is. Can you handle ram previewing two effects? or is it slow for you? Neat Video is GPU accelerated with nVidia GPUs so that is a plus.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks