Jay Oxley

Hi, First make sure your colour profiles are set to how you want them as this is a common mistake a lot of people forget about as it isn't blindly obvious. My next suggestion would be to watch our for rolling shutter and moire which will occur if you do any quick pans with the camera along with small details. Apart from that there are other bits and pieces but those would be the first things to look out for in my opinion.

Hi, In order to shoot slow motion < 50fps you need to change the camera to 'Film Cam' in the menu settings as natively it isn't set to this. Having then done this you need to drop the resolution to 1280x720p as it can only overcrank in this resolution, not full HD unfortunately. After this you then need to adjust the settings to the desired frame rate you'd like to shoot at. An alternative option which I wouldn't recommend is to shoot it normally and then time re-map it, but like I said not the best way to do it. I can't remember off the top of my head the individual menu 'titles' in order to change all of these parameters but I'm sure you can find them. Hope that helps. Jay

David, Right, sorry for my ignorance I am now with you. That all seems fairly straightforward and fairly easy to do. Thank you for your help. Jay

David, Thanks you for that, that is very helpful. You mentioned about bringing the footage into RED ALERT and giving it an initial 'one light' colouring there. Is that the final grading as I plan to use both Color and Magic Bullet Suite for the final grading so am I able to leave the footage in its RAW state and manipulate it after it has been processed through RED ALERT? It seems as if you've aided me with the first initial step of getting the footage on the computer and into the right codec. I'm sure I can look into working with proxies, I've got a couple of friends I can speak to. Thanks, Jay

Hi, I shall be shooting our new short on RED in about 8 weeks and I seek advice on how to edit the RED footage. I know RED uses its own codec .R3D and we shall be editing on Mac using Final Cut Pro. My editor is away at the moment and it will be the first time he will have edited RED footage. I need to get the plugins for the footage off of the RED site? Can somebody please inform me of how we go about editing the footage, also how do we work with the proxies? Thanks in advance, Jay

David, Sorry, my mistake about the wide angle lens on that one. Do you know if he used it only for 'Barry Lyndon'?

Hi Sasha, I have just finished my showreel and application form for the MA at the NFTS as well and have sent it off today. If you go on their website then they have an overall cinematography showreel and a few clips from previous students work, but in terms of a students entire application showreel I don't think they will publicise those I'm afraid. How are you finding the application? Jay

Sure no worries, I'll drop you a line in the next couple of days. Also another camera has cropped up, which I may be able to get hold of. The Sony F900, anybody aware of this? If so any thoughts that could be shared?

There is also a documentary on Kubrick called 'Kubrick: A Life in Pictures' which is definitely worth watching. There is a small section where it talks about a wide lens that he had made for one of his shoots, which with the widest aperture measured F/0.7.

Mei, As it currently stands we're looking at the end of June crossing over into July for a 2 week duration. It's all depending on when people are available, plus we may have the perfect location so depending on if we can get that for when we want it. It's a case of waiting to see what people say at the moment but we've scribbled it down it our diary for around that time. Jay

I totally agree with Adrian on this, but I think it varies on a case-to-case basis and the scale of the production. If it's a smaller production and the DP doubles as the camera operator, and focus puller and the kit is theirs then obviously chances are they'd maintain it as much as they possibly could. It should be sent off for servicing once in a while too. I work a rental house occasionally and I know that people come in, pick up kit and then just go and shoot. It is down to us and the supplying companies to ensure that the maintenance is kept up to date.

Mei, I can speak to the director I work with as he has rigged up something like this before which we used. When I get home tomorrow I'll grab a screenshot of what we used it for. We wanted a candlelight look but only had a 600 watt hardlight so he rigged up something over a day with a few bits and pieces and it worked very well. Jay

Hi, I know I may be very wrong but it does say suggestions welcome. You should watch the Zacuto Shootout, just google it. They do lots of tests using various ISO's with the DSLR's and it sounds like this could be helpful for what you may be looking for. If not, then I apologise in advance for the useless advice!! :unsure: Thanks, Jay

Chaps, Sorry to intrude on the RED compression debate. I read at the top about working in proxies on the edit and then converting to the 4K or whatever resolution you decided to shoot in for colour correction, VFX etc. Excuse my ignorance, however I am very aware of how this operation works and I understand why it works but as of yet I've never worked with R3D footage or proxies for that matter. Can somebody inform me of how to make the proxies in the first place to work with in FCP and then how to re-connect these proxies with the original R3D original resolution footage? Thanks, Jay

Mei, Sounds like a really interesting approach, some of your stills works is really great to look at. Well if you fancy it then you would be more then welcome to photograph our shoot later on this year if you'd like to? Jay