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ISBN：9780321617682

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简介

简介

Summary: Publisher Summary 1 With the release of the RED ONE鈩?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鈥攆rom independents on up鈥攁re leading the charge on establishing new rules. Here to guide newcomers and RED veterans alike, popular trainer and filmmaker Noah Kadner picks up where the manual leaves off. You've got the basic operations down and now you'll learn how to use the camera in a production environment and discover the various options in post. Using a clear, objective approach, he offers best-practice advice on utilizing RED's proprietary tools, explains the workflows for Final Cut Studio, Avid, and Premiere Pro, and gives workaround solutions where needed. Well-known filmmakers and industry leaders share their own bleeding-edge production methodologies throughout, offering a rare view into this exciting new world of filmmaking. Here are just a few things you'll learn to do: 鈥Build a RED package that fits your budget 鈥Set up for sound recording and learn which audio tools to use 鈥Achieve the optimal exposure using RED's onboard tools and external gear 鈥Edit your footage with step-by-step instructions for Avid, Final Cut Pro, and Premiere Pro 鈥Work color correction into your HD, film, or Web projects 鈥Prep your project for output and archive your footage 鈥Learn from pros such as Rodney Charters, ASC (DP, 24), Simon Duggan, ACS (DP, Knowing), Albert Hughes (Director, The Book of Eli), and many others using RED 鈥Stay up-to-date and download additional resources at the companion Web site at www.peachpit.com/red "If you want to dive in and starting using the RED, look no further. This book is the next best thing to having a top-notch production crew with RED experts working by your side." 鈥擜rthur Albert, Director of Photography, ER "An essential guide loaded with knowledge, I recommend it as the first purchase for any filmmaker who is thinking about owning or currently owns the RED." 鈥擱odney Charters, ASC, Director of Photography, 24 "If you're planning to shoot with the RED camera, this is the book to get!" 鈥擱ob Cohen, Director, The Fast and the Furious "Noah Kadner takes the best practices of using the RED camera and shares them with the rest of us in this indispensable guide." 鈥擲imon Duggan, ACS, Director of Photography, Live Free or Die Hard, Knowing "Written in an easy-to-follow style, yet thorough in covering everything from production to postproduction to making money from your investment, this is a book that should be on every filmmaker's desk and in their kit bag." 鈥擭orman Hollyn, Film Editor, Instructor, and author of The Lean Forward Moment "If you want to see how the pros are using the RED camera, you need this book." 鈥擭ancy Schreiber, ASC, Cinematographer, Every Day

Table Of Contents:
Introduction xv

The History of the Future 1(12)

Assembling the Team 2(1)

Technical Specs 2(1)

The RED Phenomenon 3(10)

Public debut: NAB 2006 4(2)

REDuser forum 6(1)

NAB 2007 7(2)

RED Day 9(1)

Industry acceptance 9(4)

Overview of the RED Workflow 13(20)

Comparing the RED with Other Cameras 14(5)

Video 14(1)

High Definition 15(1)

Film 16(3)

Exploring the Tapeless Workflow 19(1)

Exploring the RAW Workflow 20(6)

Comparisons with DSLR RAW 21(1)

The REDCODE RAW native camera codec 22(2)

RED files, folders, and proxies 24(2)

Working with Metadata 26(1)

Upgrading Your Firmware 27(2)

First Person POV: Rodney Charters, ASC 29(4)

Defining Your Project 33(26)

Project Length 34(8)

Feature films 34(2)

Documentaries 36(1)

Episodic television 37(1)

Music videos 38(2)

Commercials 40(1)

Short films 41(1)

Production Mode 42(5)

Multiple RED cameras 43(2)

Multiple formats 45(2)

Delivery Format 47(7)

Delivering in high definition 47(3)

Delivering for a film finish 50(2)

Delivering for the Internet 52(2)

Organizing Your Workflow 54(2)

First Person POV: Albert Hughes 56(3)

Building a RED Package 59(30)

The RED ONE Camera Body 60(1)

Optics 61(6)

RED lenses 62(1)

Third-party prime lenses: ARRI and Cooke 62(2)

Zoom lenses 64(1)

16mm lenses 64(1)

Still lenses 65(1)

Lens mount adaptors 66(1)

Storage Options 67(2)

RED CF cards 67(1)

RED-DRIVE and RED-RAM 68(1)

Matte Boxes 69(1)

Filters 70(3)

ND filters 71(1)

IR and polarizing filters 72(1)

Diffusion, softening, and color-correction filters 73(1)

Follow Focus and Remote Control 73(2)

Tripods and Camera Support 75(1)

Batteries and Power 76(1)

Cases and Carts 77(1)

Monitoring 78(3)

Electronic viewfinder (EVF) 78(1)

Onboard monitors 79(1)

Studio monitors 80(1)

Routing 80(1)

Transfer Equipment 81(1)

Working Within a Budget 82(1)

Scarlet and EPIC 82(3)

First Person POV: Mark L. Pederson 85(4)

Working with Sound 89(20)

Why You Need Good Sound 90(1)

Double-System Sound 90(1)

Audio Equipment Shopping List 91(6)

Microphones 92(1)

Headphones 93(1)

Mic accessories 94(1)

Digital recorders 95(1)

Mixers 96(1)

Working with Timecode 97(5)

23.98 vs. 29.97 98(1)

Multi-camera audio 98(1)

Proper slate etiquette 99(3)

Using the Onboard Audio 102(2)

Connections 102(1)

Menus and operation 102(2)

Postproduction Audio Tips 104(3)

First Person POV: Dean Georgopoulos 107(2)

Exposing the Image 109(18)

Exposure Concepts 110(4)

Working RAW 110(1)

The ASA system 110(1)

Aperture 111(1)

Shutter speed/angle 112(1)

Color temperature 113(1)

External Exposure Tools 114(3)

Light meters 115(1)

Waveforms and vectorscopes 115(1)

Using a color chart 116(1)

Onboard Exposure Tools 117(8)

LOOK settings 117(1)

False color 118(1)

Monochrome 119(1)

Spot meter 119(2)

Histogram 121(1)

Zebras 122(3)

First Person POV: Arthur Albert 125(2)

Exploring Shooting Formats 127(24)

Recording Quality 128(2)

Choosing Resolution 130(2)

4K 130(1)

3K 131(1)

2K 131(1)

Working with Aspect Ratios 132(3)

2:1 133(1)

16:9 134(1)

HD 134(1)

Anamorphic 135(1)

Choosing Time Base 135(3)

24P 135(1)

24.00 136(1)

25 136(1)

29.97 137(1)

In-Camera Effects 138(7)

Varispeed 138(2)

Ramping 140(5)

First Person POV: Nancy Schreiber, ASC 145(6)

Building a Postproduction System 151(22)

Choosing a Platform 152(2)

Recommended systems 153(1)

Postproduction Workflows 154(3)

Offline vs. online editing 154(1)

File formats 155(2)

Finishing RAW vs. `baked in' 157(1)

Editing Software 157(4)

Apple Final Cut Pro 157(1)

Adobe Premiere Pro 158(2)

Avid 160(1)

Storage Options 161(3)

JBOD 161(1)

RAIDs 161(3)

Monitor Options 164(5)

First Person POV: Michael Cioni 169(4)

Using Helper Applications 173(28)

RED Applications 174(10)

RED Alert! 174(4)

REDCINE 178(3)

REDrushes 181(3)

REDLine 184(1)

Third-Party Applications 184(9)

Crimson Workflow 184(4)

Monkey Extract 188(3)

Clipfinder 191(2)

Color and Gamma Space 193(4)

Color space settings 193(1)

Gamma space settings 194(3)

First Person POV: Brook Willard 197(4)

Apple Final Cut Pro Workflow 201(20)

System Requirements 202(1)

Ingesting Footage 202(2)

Editing 204(1)

Color Correcting 205(6)

Sending to Color 206(1)

Using Cinema Tools 207(4)

Sharing with Other Formats 211(1)

Alternate Workflows 211(8)

The native-wrapped method 212(2)

The proxy method 214(5)

First Person POV: Evin Grant 219(2)

Adobe Premiere Pro Workflow 221(10)

Setting Up Your System 222(1)

Ingesting Footage 223(1)

Editing in Premiere Pro 224(3)

Exporting Your Project 227(4)

Adobe After Effects 228(1)

Blu-ray 229(2)

Avid Workflow 231(18)

Setting Up Your System 232(1)

Ingesting Footage 232(4)

Editing in Avid Media Composer 236(3)

Conforming in Avid DS 239(7)

First Person POV: Michael Phillips 246(3)

Finishing Your Project 249(22)

Film Workflow 250(1)

Desktop Color Correction 251(8)

Apple Color 251(3)

ASSIMILATE SCRATCH 254(3)

IRIDAS Speed Grade XR 257(2)

Outputting for Other Formats 259(8)

DVD 259(5)

Blu-ray 264(1)

HD 265(1)

Internet 266(1)

First Person POV: Simon Duggan, ACS 267(4)

Archiving Your Media 271(24)

Archiving in the Field 273(6)

Recommended equipment 273(2)

Transferring footage 275(4)

Postproduction Archiving 279(3)

Initial setup 279(1)

Selective vs. complete archives 279(2)

Working with tape 281(1)

Recommended Hardware and Software 282(7)

Tapes 283(1)

Tape libraries 284(1)

Archiving software 284(5)

Vaulting Services 289(2)

First Person POV: Greg Williams 291(4)

Your Future with RED 295(6)

Building a Business with the RED 296(3)

Digital imaging technician/data wrangler 296(1)

Camera rental 296(1)

Director of photography 297(1)

Editor/postproduction supervisor 298(1)

Your Next Camera 299(1)

Story First 299(2)
Appendix A: Complete System Menu Map 301(12)
Appendix B: RED Gallery 313(4)
Glossary 317(6)
Image Credits 323(4)
Index 327

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