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Igor Ridanovic

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About Igor Ridanovic

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  • Occupation
    Colorist
  • Location
    Los Angeles
  • Specialties
    picture finishing

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  • Website URL
    http://www.hdhead.com
  1. Not a bad question at all. Media Composer, FCP, Premiere Pro, they can all work in 10 bit. In fact, some of the Mercury Engine based processing in Premiere can be done in 32 bit float precision. However, if by "perceived" you mean why the file output from any of these editing programs may look crappy, the answer generally lies in the delivery codec you are using. If using H.264 you are dropping the storage bit depth to 8 bit and severely compressing the image.
  2. RED LOS ANGELES USER GROUP March 28th, 2009 9:00am - noon Please RSVP at: www.redusergroupla.com We have a pretty exciting lineup again this month. Avid will demo their completely new workflow and show a path from editorial to finishing. This process involves dailies transcoded via Metafuze or RedRushes to DNxHD, HD editorial in Media Composer with a full finish in native R3D in Avid DS. Don’t miss this exclusive pre-NAB workflow demo. This month’s door prize is the latest Avid Media Composer Software V3.5 courtesy of Avid Technology. This $2,495 professional editor is available for both Windows XP and Mac OSX (computer not included). Pictorvision Inc will be demonstrating the use of the RED ONE in their Wescam gyro stabilized aerial camera systems, as well as giving a basic primer on what you need know when planning for aerial shooting. Camera Essentials will show the RED ONE ‘Desert’ dust and light rain cover as well as the heavy duty RED ONE Weather Protector. Director Sandy Collora and DP Ed Gutentag who met last year at RED Los Angeles User Group will be screening scenes from their feature film “Hunter Prey” at the Members’ Showcase. Scott Snare will moderate the Owners' Circle. This forum will provide the RED ONE owners with an opportunity to discuss various RED related topics in person. The Owners’ Circle is open to all RED LAUG members whether or not they actually own a RED ONE. We may have a couple more announcements in the coming weeks.
  3. Check out RED Bootcamp at Kappa Studios in Burbank. It's exactly what you're describing. A post production workflow class is offered too on a limited basis. Kappa is also the host of the monthly RED L.A. User Group. Please understand that I am involved with the User Group so this is a biased recommendation. The instructor Gianny Trutmann is a working cinematographer and he is very knowledgeable.
  4. RED LOS ANGELES USER GROUP February 7th, 2009 9:00am - noon Please RSVP: http://www.redusergroupla.com Please register early. We have filled our capacity at the January meeting and expect to have a full house again. To receive our early notifications in the future please subscribe to the RED Los Angeles User Group Twitter feed. Don't miss a chance to see Quantel Pablo Stereoscopic primer. Quantel's artists will go through the basics of 3D using RED stereoscopic footage. This will be a great opportunity to see and understand how the RED and Pablo work together in producing outstanding stereo images. ASL Gear (formerly Toys 4 RED) will show their RIP KIT. This versatile breakout box augments the RED camera I/O and control section allowing operator easy access and improved operational flexibility. Drop your card for a chance to win $500 gift certificate from ASL Gear. Director of Photography Jeffrey Seckendorf will be screening scenes and discussing elements from the EA video game, "Need For Speed." Shot on the Red, "Need For Speed" includes over 50 feature film style narrative scenes interlaced inside the game. Jeff will be showing both original footage and processed scenes from the game. Produced by Eric Mofford, directed by Joseph Hodges, and starring Maggie Q, NFS was just nominated for a Visual Effects Society award. The Owners' Circle will meet as usual to discuss any issues that pertain to current or future owners and operators of RED ONE. Check back for updates. Watch RED User Group previous meetings and presentations on YouTube. There's a lot of value packed in these 10 minute clips! COMING UP IN THE MARCH MEETING: Pictorvision, Inc. will be demonstrating the use of the RED One in their Wescam gyro stabilized aerial camera systems, as well as giving a basic primer on what you need know when planning for aerial shooting.
  5. The meeting is from 9:00 to Noon. Not midnight! Sorry for the confusion. I blame it on the foreigner in me. I just can't get the am/pm straight sometimes.
  6. RED LOS ANGELES USER GROUP January 10th, 2009 9:00am - 12:00am RSVP HERE We're excited to announce that Digital Vision will be sponsoring the breakfast at the January 10th meeting. Digital Vision will be demonstrating RED workflow with Film Master in Kappa's new DI bay. Film Master is one of the handful of systems capable of importing RED RAW files. Curtis Harris, the video specialist at Melrose Mac, will be discussing storage options and backup when dealing with tapeless formats such as RED. He will be discussing in detail the different RAID types, and when to use them, as well as why it is absolutely critical to have a backup strategy such as LTO backup. These are only two of the presenters who will speak and demonstrate their RED products to the group at the next meeting. Please stay tuned for more announcements soon. RSVP HERE
  7. www.red.com are making a big announcement on 11/13. There may be some things of interest to you.
  8. If this is for film out there is no cheap way of going about it. You'll almost certainly need to go to a DI facility because of color managament needs. If this is for SD/HD video you could do it in FCP and Color. Some pitfalls of Color are documented at reduser.net. If you don't care about offline/online approach you could work in either FCP or Media Composer by using either proxy files or encoding new Quicktime movies with REDrushes. There are really many permutations depending on what you're intending to do with this material. It's hard to give you one-size-fits-all solution. A workflow that works for one production may make no sense to your set of circumstances. PM me if you want to discuss the specifics.
  9. Avid showed a technology demo today and previewed what they are working on in terms of RED support. It's not known when the new tools are coming out but they include workflow improvements on the offline edit side as well as RED support on the high end side with Avid DS. This is a detailed report on the Avid RED workflow that's coming out.
  10. OffHollywood is a reputable facility and a studio in New York City and a leader in RED production and post production. For the full disclosure I am not connected to them in any way. A "major" film maybe be a misnomer. It seems we're talking about U.S. theatrically released pictures and one glance at your local paper calendar section will prove that this is hardly a measure of quality.
  11. We have a last minute addition and a door prize to announce: This month CineForm's CTO and co-founder David Newman will demonstrate the company's online 4K post-production workflow for Red One. In his presentation David will demonstrate and discuss CineForm's online 4K workflow for both Final Cut Pro and Premiere Pro. CineForm is sponsoring a door prize of either Prospect 4K (Windows) worth $1999 or Neo 4K (Mac) worth $999, to be chosen by the winner. Supporting elements of CineForm?s Red workflow include Express Files for reducing required compute power, plus non-destructive Active Metadata as a tool to non-destructively manage portions of your color workflow including White Balance and 3D LUTs. Through its AVI and MOV wrapper compatibility, CineForm files and associated workflow elements are both cross-platform and cross-applications compatible, leveraging many existing industry tools including Iridas, Synthetic Aperture, Combustion, and others.
  12. Kappa Studios, Inc. is proud to host the meeting of RED Los Angeles User Group Saturday October 4th, 9:00 - 12:00 noon To RSVP for the event please visit: http://www.kappastudios.com/?page_id=21 Joe Kane, chair of the SMPTE Working Group on Professional & Studio Monitors will be coming to show the remarkable Samsung SPA800B projector that he helped design and that is finding it?s way into color grading suites all over town. He will be demonstrating this stunning projector and a special new technology ?even uniformity non-textured non-perf? screen. This is a not to be missed event. We're working on several other attractions for this Saturday's meeting and will let you know about the full lineup soon. The Owners' Circle will gather at the end of the meeting as usual. This forum will provide the RED ONE owners with an opportunity to discuss various RED related topics in person in a non-moderated environment. Special thanks to eCinema Systems for providing High Definition displays. There will be a suggested $5 donation to help with the cost of breakfast and refreshments. Our rooftop parking is limited but there is plenty of street parking. Please observe posted restrictions. Red Los Angeles User Group is located at 3619 West Magnolia Boulevard in Burbank.
  13. Kappa Studios, Inc. is proud to host the meeting of RED Los Angeles User Group Saturday September 6th, 9:00 - 12:00 noon To RSVP for the event please visit: http://www.kappastudios.com/?page_id=21 The summer may be coming to a close but the things are just heating up at the RED L.A. User Group. Adobe is announcing the RED support soon and Kevan O'Brian is coming to the meeting to brief us on the developments. In this RED L.A. User Group exclusive presentation Kevan will go over the Adobe Premiere and After Effects upcoming features. He will discuss how Adobe Production Premium package can be used as an all-in-one solution and how it can augment the existing RED workflows. Another exciting topic Kevan will address is the ability of Production Premium to provide VFX previsualisation on the set. A lucky User Group member will have an opportunity to test all the new features because Adobe is providing this month's generous door prize worth $1,700 -- the Creative Suite® Production Premium. James Matthers will be talking about his experiences with the RED ONE in practical operations on various feature films. James is a director of photography and the president and co-founder of the Digital Cinema Society. Digital Monolith's Chris Swartz will show their Digital Cinema Archive location data backup device. This box is all you need to provide dailies backups on location. Marc Salomon and Justin T. Ostensen of Visionlogic 4k will present their recent RED commercial and music video work at Members' Showcase. If you'd like to have your material considered for screening at a future date Members' Showcase please email us or contact Igor at 818.843.3400. The Owners' Circle will gather at the end of the meeting as usual. This forum will provide the RED ONE owners with an opportunity to discuss various RED related topics in person in a non-moderated environment. The Owners' Circle is open to all RED LAUG members. Special thanks to eCinema Systems for providing High Definition displays. There will be a suggested $5 donation to help with the cost of breakfast and refreshments. Our rooftop parking is limited but there is plenty of street parking. Please observe posted restrictions.
  14. DS is celebrating the tenth birthday this year and Avid has decided to launch the new version in September. They showed some of the new features of Avid DS 10 at a gathering in Hollywood on Wednesday. The bottom line is that the box is fast, not cheap but very fairly priced considering the muscle and the amount of companion applications that come with it (Media Composer is bundled). It does primary and secondary color correction in real time in 2k. RGB full resolution, no proxies. No lower quality playback. Just a solid 2k out. There are pretty serious 3D LUTs for standard stocks, digital cameras and as I understand you can make your own too. No more EDLs for conforming DPX files. Actually, you can still use them but you can also use AFE which carries over far more FX information from Media Composer.
  15. Post is indeed very important but you need to ensure you're getting good images on the set. You should have someone (DIT) help you with data wrangling on an Intel based Mac. They can also run shots through REDalert or jut pull up camera proxies so you can see what's really in the shot because what you see coming out of the camera video output is not always what you get recorded.
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