[Nelson Goforth]

With broadcast materials is there really a need to go out to broadcast monitors, scopes, etc? I mean, with all of the attention to the picture at the time of capture isn’t that taken care of before it gets into the editing software? This is by way of curiosity – I come from single camera shooting (with no engineers) and the recorded picture is not polished and ready for air, so the monitors are needed.

Nelson Goforth

[Nelson Goforth]

I’m with Rick. The ‘under $1000’ mark is going to be hard to hit. Of course the question is: how low a light level is “low”?

The Canon 1D and the Sony FS-100 (we just added one of these) will take good (well, reasonable good, and with reasonable noise) pictures in light that my eyes have trouble with, but they go for a lot more than a grand.

Nelson Goforth

Red Camera Rental & Indy Features, Denver Colorado.
rockymountain4k.com * 303.506.2456

[Nelson Goforth]

Colorista and Looks appear to be terrific programs – I’ve played with both on someone else’s computer. If I did a lot of editing or color work (and got paid to do it) I’d be into it for certain, but for now I stick with Color.

Red Camera Rental & Indy Features, Denver Colorado.
rockymountain4k.com * 303.506.2456

[Nelson Goforth]

re Red Drive – at least it telegraphed a problem. There was a ticking noise, and the last two clips wouldn’t play back on camera, so I just switched to another.

That being said, we’ve moved to SSDs and have probably used our last Red Drive. I take one along as backup media in case the SSD module died or something.

Red Camera Rental & Indy Features, Denver Colorado.
rockymountain4k.com * 303.506.2456

[Nelson Goforth]

[Jocelyn Kelvin] “I vote NO to seagate, if anyone is ever curious. This is the worst thing I’ve ever seen happen with a drive.”

I can’t speak to Seagate – I don’t think I’ve used one in years, but any drive can fail. I have relied upon (and recommended) G-Techs for several years, but did see one die suddenly (and for no apparent reason) in mid-shoot once – which is why backup to more than one drive. I had a Red Drive go bad on me similarly -and being a RAID 0 that was scary, though I recovered all but maybe two minutes of footage.

Red Camera Rental & Indy Features, Denver Colorado.
rockymountain4k.com * 303.506.2456

[Nelson Goforth]

Sorry Jocelyn, I’ve been skating around the edge of my knowledge as it is. Do you need any advice on Photoshop, maybe? Or homebrewing?

[Nelson Goforth]

Thanks to Michael and Jerry.

The extenders sound like a good idea. I’ll have to look around more and see if there are “Mini DisplayPort” extenders (now on that rather than DVI) and of course the future may be Thunderbolt. God! I already have a big box of old SCSI, ADB and other obsolete connectors. I already have HDSDI out from my Red Rocket card and a Blackmagic, uhh, magical device, so yes, that’s good for distance.

Jerry, “Web of Lies”, the short that I showed at the Denver Final Cut Users Group a couple months ago made it into the Starz Denver Film Festival (and hopefully a few more). Thanks to you and the group for letting me show it… I ended up fixing a couple of tiny After Effects problems that I saw (but no one else seemed to mind). Turns out my 720 Panasonic broadcast monitor was effectively “smoothing out” some problems that were more evident at a higher magnification… I don’t know if that projector might have been a true 1080, too. I ended up making a ‘trailer’ as well… for a 10-minute short.

https://vimeo.com/23504506

Cheers,
Nelson

Red Camera Rental & Indy Features, Denver Colorado.
rockymountain4k.com * 303.506.2456

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[Nelson Goforth]

“Looks like that will be okay except for this immense transfer time (currently reading at 15 hours for 258gb?!?) Anyone have any idea how to solve that?”

A good night’s sleep? There really isn’t anything else except to go to eSATA (that’s what I do) or the new Thunderbolt… which is only marginally available anyway. Just be glad you’re not on USB.

[Nelson Goforth]

Drive name and directory structure the same – should work, just take the ‘down’ drive out of the loop (or rename it). If nothing else relinking the media should be a breeze. If some of these other ideas for recovering the old drive work then IT can serve as the emergency backup – if not I’d see if the producers can scrounge up some additional drive space to back up your ProRes files. Even on multiple slow drives using odd bits of storage it could save you a lot of work (I’m assuming a Red shoot, and no Rocket to be had).

On my shorts I’ve usually given the producer (or SOME other person) copies of the original R3D files plus any renders I’ve done and kept them somewhere else entirely. Occasionally they brought the drive and I add any further renders, effect shots, music, whatever to the archive. I e-mail the FCP project file from time-to-time, just so it resides somewhere other than my computer, my house.

Nelson

Red Camera Rental & Indy Features, Denver Colorado.
rockymountain4k.com * 303.506.2456

[Nelson Goforth]

Nouf, Take a look at this tutorial from Stu Maschwitz; it goes largely for the same kind of look. It’s for Magic Bullet Looks, but can be done in Color (and somewhat with a 3-way corrector). Basically as David said – take the shadows blue (left wheel), but then counter by warming the mids and highlights to maintain the skin tones and provide color contrast. As Michael pointed out, this may be beyond what FCP will do on it’s own.

https://library.creativecow.net/articles/maschwitz_stu/red-giant-blockbuster-film-look.php

Red Camera Rental & Indy Features, Denver Colorado.
rockymountain4k.com * 303.506.2456