Dane Brehm

I feel a vectorscope and waveform for HD are very important. In the hands of an seasoned DIT like Jim Rolin, will make any project look amazing especially in saving production time in the Color Suite which sometimes can be the difference between the DP being there and not.

With the new Wide Gamut camera's like the F23, a vectorscope/waveform is even more important then ever especially to creatives like the DP. The issue I've been having is for DP's who are used to vectorscopes that can't use them for Raw Data camera's like the Red,D21,Phantom.

Dane Brehm

4k + Raw

Last I heard RED charges a Warrenty/Support Free if you switch from the original owner to a new owner to the tune of $5k.

Dane

4k + Raw

Always introduce yourself for all the reasons stated above....Celebrities are pretty professional and if not instigated by you, they will typically introduce themselves. Some Actors even repsond to there "stage name".

I've had a Director flip out on me once for asking the Actors to step on there last mark while the Director was talking on his phone. He ended his call then asked me why I was talking to "HISSS Actors". I apologized for talking to HISSSS actors even though I felt it was within my job description on a 135mm at T2 to get a mark so that HISSS image was in focus. Some folks are hyper-heiarchal and want you to ask the DP to ask the Director to ask the Actor to step left 1 inch.

Dane Brehm

4k + Raw

San Francisco/ LA

I recently had the chance on a Commercial to try both a Panchro Set from Woodland hills and a new Tiffen 1.2 NDIR. The Panchros are awesome but watch out hits! We had some inner-filter bounce that the Red sensor caught during a few 14mm steadicam sequences

For Daylight I'd use a .9IR and a Polarizer for the best stop.

I've also been recommending using a 80C/80D filter for Tungsten Interiors but Build 15 is a Major improvement over Build 14 as far as Dynamic Range and the 5000k Sensor Issue.

Dane Brehm

1st AC / DMT

San Francisco,CA

RED | F23 | Viper

What do you want to know? Are you just looking for literature on the menus?

My typical set up is 23.98psf, 4:4:4 using the Custom Shooting mode using either HyperGamma #4 ( High Con) or #3 (Low Con:Nights/Reaches into the blacks better). I use the F900 ( Rec 709 ) Colorspace for Boradcast. Paint as you see fit.

For a Features I recommend using the Cine Shoot Mode, D-Range: Extend, Color Space REC709 or DCM for Digi-Projection Standard. Only Black Balance is adjustable not WB.

Does that Help?

Dane Brehm

1st AC / DMT

San Francisco,CA

RED | F23 | Viper

www.videofax.com

3k's max fps is 50 using the Red Drive.

I avoid 2k unless I need 75fps+ because of the serious jump in sharpness even with a 2k output.

There are now 4k,3k and 2k Anamorphic aspect ratio's available for those who want to use Anamorphic glass.

Dane Brehm

1st AC / DMT

San Francisco,CA

4k + Raw Consultancy

4krawconsultant@gmail.com

What kind of speeds are we talking here?

I did 800fps shoot a few months back and didn't have a flicker issue?

Dane Brehm

1st AC / DMT

San Francisco,CA

4k + Raw Consultancy

4krawconsultant@gmail.com

310.710.2658

I'm a Data Tech/ AC out of Videofax here in San Francisco and we have a F23 and it blows me away what that camera can achieve especially in the Blue,Violet range of the spectrum. I've done a few commercials and love HyperGamma 4 because I can see colors I've never seen on a 4:4:4 monitor before. I never saw a camera that could hold detail past 3.5+ stops over key. If the F35 is anywhere near the F23 I'll be nothing short of blown away. Again!

FYI the Striped Sensor on the Genesis is by far the best Sensor for Green Screen.

We also have a reservation for the F35 which will be at NAB and no doubt Jeff Cree will be there to talk about it!

Dane Brehm

1st AC / DMT

San Francisco, CA

4k + Raw Consultancy

4krawconsultant@gmail.com

310.710.2658

I personally might not call myself a DIT just because I've worked with Badass DIT's like Jim Rolin who knows practically everything there is to know about HD, Video, and historically what it has become (F23). Most DIT's know little about RAW and how that applies to newer cameras like the Red, Dalsa or the Phantom. Historically there's been multiple ways to adjust things like Flare, Blacks, Whites,Gamma,Knee, Contrast, etc so when you talk to a 25 year veteran about how there's no flare compensation in the Red they go Why?

A word of Advice to would be DIT/DMT/ Next Gen AC's. Always keep the DP happy because even though you may get alittle extra attention from the Director, Producer or E.P ultimately your assisting the DP. On one of my First Red jobs, I made that mistake after leaving camera side so many times on a Intel job to Show/Grade with the Director and Exec. Creative Director. The DP felt i over stepped, so with great power ( DATA/RAW/onset Color) comes great responsibility ( your career).

Dane Brehm

1st AC / DMT

San Francisco,CA

4k + Raw Consultancy

4krawconsultants@gmail.com

If anyone has any feedback please email feedback@vuze.com.

Thanks,

Dane Brehm

1st AC / DAS

San Francisco, CA

Here was the setup I used for the shoot:

Arri SR3

Vision 2 7218 500T film

Canon 8-64 Zoom

45 degree shutter

Soft F/X filters (between 1/2 - 2)

45 degree shutter ....thats why its so Sharp! The rest answer all my questions.....500T is the best S16mm stock ever made with the exception of 7219 Vision 3. :lol:

When you say "Glossy Video" do you mean sharpness,contrast,color,diffusion etc? To answer you question yes. A music video is made in the telecine suite at $400-650/hr. This video looks very sharp and my guess is they used 200T or slower stock.

What I care more about is what glass they used because a film camera body has no direct influence on the "look" unless were talking shutter angle or phasing. please be more specific. what is your experience level?

Thank you for posting links to the footage, good to see side-by-side outputs.

 

One quick nitpick - there's not gate, so check for DUST ON THE SENSOR!!! The absolute first thing I saw, before even looking at the beauty of the footage was that one of the cameras had dust EVERYWHERE! Yes, it was just a test, and yes, the olpf is now in a different spot, but it's one of those things... something new to look out for, something very distracting if missed.

 

 

But besides that, the images were nice, though from the side-by-side raw vs. graded, it appeared like a lot of highlight info was lost to get the skintones to expose correctly.

Having Dust on the Sensor drove me nuts because as a AC this is one of the first things I do is CHECK the GATE. I was only on 1 of the 4 camera's whizzing around a real cluster fuc. I believe the actioncam had the dust issue primarily as we were more concerned with getting it mounted on the actioncam with the battery literaly taped to the camera. see below...

About the Skin tones ,I didn't do the post I'll have to get the colorist to chime in to answer those questions but my guess is we used tungsten lights on a daylight balanced chip so skintones might have shifted and this is pre-enable black balance beta RED.

I think the newer builds are better but I've found there is a color shift when I've shot some gray scale chart. very odd.

If you have the capability to use a Scratch system paired with a experienced DP then that produces amazing results.

We posted some new fire dancer footage today in 2k, yeah thats 2K with 2 and a K resolution. We posted a RAW vs REDCINE comparison for folks who want to see the difference.

www.vuze.com/channel/gibcor

Fire Dancers in 2k (2048x1152)

http://www.vuze.com/details/DSJUJJIF4WYEKO...QNRLBFFPVA.html

Enjoy!

It is RAW, by the generally understood meaning of RAW:

http://en.wikipedia.org/wiki/Raw_image_format

 

RAW as in a Bayer image that has not been processed into a viewable RGB color image. Whether or not is is compressed is another issue, but it doesn't particularly have anything to do with the whole concept of RAW-to-RGB. However, calling it RAW REDCODE or REDCODE RAW, whatever, is a good reminder that this is a wavelet-compressed RAW file.

When in doubt ask Dave Mullen, the Obi One of Cinematography....

Videofax's camera isn't for rent yet as it is currently being tested but we'll most likely have a demo at Academy of Art University sometime on a weekend. If anyone's close to SF and is interested in attending please PM me so I can add you to the email list.

Fire Dancers and LA Models clips later this week.......

RAW?

 

As in uncompressed? ;)

As in REDCODE vs Full 12 bit RAW or RAW as in R3d?

I think the best part of shooting RAW (REDCODE) is the metadata attached to the redcode RAW which will be nice for VFX when the S4i component is enabled. REDCINEs 4K redcode playback is still an issue on anything but a tricked out MACPRO.

Dane Brehm

1st AC/DAS

San Francisco, CA

Don't forget to show/tell me how I can learn more, and get my hands on the RED asap.

Jamie since your local I could help you out but I recommend you start with downloading the RED manual ( build 13) from www.red.com. Videofax has their RED camera in and I'm sure I could get you in for a demo. I will be holding a demo soon at the Academy of Art Film department for interested parties to check out.

dane brehm

1st AC / DAS

San Francisco,CA

Only comment is that there appears to be a ton of missed focused shots in that longer clip where the motorcycles pull up.

We had an actioncam on set and no Follow Focus or ND for it so we set hyperfocal then shot, so it is out of focus.....The overhead shots the Op didn't even have a monitor or a LCD he shot "blind".

I agree RAW 4k files are the way of the future.....very exciting times we live in.

Dane Brehm

1st AC / DAS

San Francisco,CA

Hey Everyone,

If you have haven't already heard of the RED Digital 4K Camera than listen up. You can see cool, real world test footage on www.vuze.com under the GibCor Channel of RED content in 1080p and 720p. I worked as a 1st AC / Digital Acquisition Specialist getting the chance to learn the camera's inner-workings as well as a chance to learn the data-centric RAW work-flow. A friend recommended I share this with fellow filmmakers online, who haven't been able to see some great footage or side by side, RAW vs Graded comparisons.

disclaimer: This was shot in December with 4 beta REDs and one Red Prototype called "Hollywood" so some issue are no longer present in current builds.

LART was a 2 day event in LA to test the BETA RED Digital 4K Cameras in a variety of different and real world environments and situations. It was intended to give valuable feedback to RED and help them further develop the cameras. It was a pretty crazy shoot so yes there is some out of focus shots and camera issues but overall the stuff looks amazing!

Shot at Pelican Products "Daves Garage" in LA

Edited at Vuze and On Set.

Graded at Plaster City on a Scratch in 4k

Here are the links to the footage,

http://www.vuze.com/channel/gibcor

Enjoy!

Dane Brehm

1st AC / DAS

San Francisco,CA