if you can, shoot on film, scan it and edit and blow it…..red or the many competitors have the same problem and a very dangerous one, the workflow, data transfer is a total nightmare.
Or try cinealta and just blow it…to 35..
…or just shoot digital on an HVX or XL2 or similar and telecine to 35mm post.
data transfer on the RED isn’t that much of a problem. you just need a good set up.
http://www.theauteurs.com/topics/3516/comments is a good thread on the RED vs 16/35mm debate, and workflow headaches.
you got it…T
My brother and I own Soderbergh’s Red Drives that he used for CHE. Woohoo!
Now amman, ask him to help you find the money for your film…
Coming very soon: a guide to raising money for your film, from pitch tactics to production budget sheets… watch this space.
And also how to get the money without stalking anyone…
Mikel, excuse me?
you are excused Amman.
you’re funny, seriously!
Amman, if you own the drives, can’t you unformat/rescue the old data on them? if there’s even an echo of the original footage on there…
That is what my brother and I were thinking, but we wouldn’t really know how to do anything like that. Any ideas?
hmmm
have you used it since?
if not you should be able to : ask first at a local service center and see what they say. I’m not sure how red drives are formatted / set up in the first place. But if its NTFS or equivalent then most things can be undone with a little work… could be priceless in this case.
I’ll ask about. I’d be very curious to see if it could be done.
No more funny jokes from me to Amman. Have you tried an R2E cable to an eSata port? if you have an error that says : Error: no data. that’s another ball. But normally you shouldnt have a problem if you have the right equipment or people helping you out. Normally red files are formatted as Raw red files.
Get another disk as destination for the recovery and play around with http://www.cgsecurity.org/wiki/PhotoRec
It works on a Mac and your next door Linux nerd might know how to use it.
I love the RED camera and am in post production on a new feature that we shot with RED and Zeiss Ultra Prime Lenses. No problems during production and because we are using Adobe CS4 we didn’t even have to ingest the footage(cardage?) We’re using a PC with an 8 terabyte raid. The film is SAG Ultra Low Budget and believe me, we’re on the low side of that. Workflow is stupidly simple, We burn beautiful Blu-rays of each cut. I think we finally have picture lock. No problems at all with RED data or CS4. Once we introduced Matrox, so we could color correct on our beautiful new big flat panel, we had some issues to work out, but it’s going great now. If we have a lock, we’ll start on color correction, special effects, the soundtrack and sound sweetening. It’s really exciting to be one of the first feature films shot on RED and editing native RED files on CS4. We’d love to connect with anyone else who is using CS4 and RED on a feature. You can see info on the film along with some production stills at: http;//www.deliveredmovie.com
I love the RED camera and am in post production on a new feature that we shot with RED and Zeiss Ultra Prime Lenses. No problems during production and because we are using Adobe CS4 we didn’t even have to ingest the footage(cardage?) We’re using a PC with an 8 terabyte raid. The film is SAG Ultra Low Budget and believe me, we’re on the low side of that. Workflow is stupidly simple, We burn beautiful Blu-rays of each cut. I think we finally have picture lock. No problems at all with RED data or CS4. Once we introduced Matrox, so we could color correct on our beautiful new big flat panel, we had some issues to work out, but it’s going great now. If we have a lock, we’ll start on color correction, special effects, the soundtrack and sound sweetening. It’s really exciting to be one of the first feature films shot on RED and editing native RED files on CS4. We’d love to connect with anyone else who is using CS4 and RED on a feature. You can see info on the film along with some production stills at: http;//www.deliveredmovie.com
“What I’m looking for technology to do, is to reduce the amount of time from the idea to the execution.”
PERFECT.
This is important.
That’s exactly what RED is doing for us. We shot on RED using 16 gig cards, which we easily transferred to a laptop on set so we could watch what we had shot and each night copied the “footage” to our editing system. Because we are using Adobe Premiere CS4, there was no need to ingest, convert, or do anything. Just drop the files from the camera right onto the timeline. Editing is a breeze, output is a breeze. Color correction is a breeze. What could be simpler? And if you want to see the beautiful depth of field we were able to achieve with the Zeiss Prime Lenses we used on the RED, check out some stills at:
http://www.facebook.com/album.php?aid=106183&id=7357950775&l=0baa802f33
DELIVERED is an Ultra Low Budget SAG film, but with the right preparation, there’s no need for ugly locations, poorly constructed props, bad makeup, etc.
“More edits in a movie than ever before, and they’re longer than ever before.” We are losing the ability to reflect. If you’ve ever had to train a dog, you might’ve experienced a bit of particularly distasteful behavior: the dog will sometimes consume its feces. It’s distressing. Well, that’s this culture of ours completely. It consumes everything, and since much of what is created is wasteful, that too is consumed. We’re all of us out here trying to keep up as best we can. Likely, its not a choice worth having.
That remark Soderbergh made isn’t only about the RED camera. I think he’s looking at a something that’s really off within this culture. I think he’s talking about waste. I think he’s talking about consumption. I think he’s talking about commodification. If all this will gain us is product created faster because production demands it, if we sacrifice reflection and the desire to make art from a rigorous perspective, what have we really gained, and is this worth the sacrifice? We’re so quick, eager even, to allow the digitization of technology to devour culture. Why isn’t there more of a fight being waged? I know this isn’t a popular viewpoint, but it is being discussed, and it should be considered, with a good deal of reflection.
Jacob Ross
Not sure on the exact budget… I know it was somewhere in the ball park of $200,000. Fairly low budget I suppose. But budgets mean nothing to me because I’ve seen work produced for WAY less than that, work that finds creative solutions to problems, work that doesn’t just try to spend its way out of the problem, work that looks and sounds really good.
They got a pretty good deal on the RED rental but the writer/director didn’t really give much thought/energy into the art direction, the production design, etc. The film ended up looking like really bad theater. But I reckon the director/producer knew enough about cameras to know that they wanted to shoot RED 4K.
But not every director is a visionary auteur, I get that… and I’m cool with that. My main point here is idea > format.