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THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD
Join Ted Schilowitz, Leader of the Rebellion, (RED Digital Cinema) Michael Cioni, Chief Knowledge Officer, (PlasterCITY Digital Post, LLC); Joseph Toman (disarm films) and Cinematographer Bengt Jonsson for an in depth discussion illuminating the tools that are changing production-post pathways for the creative community. A robust workflow is evolving for working with ultra high-resolution digital footage, as filmmakers take the technology into the real world to shoot 4k and edit and finish features, shorts, commercials and episodics. Employing the RED ONE camera and Final Cut Studio, these experts illustrate how reality meets the promise of cutting edge tools, and gives attendees a viable pathway to apply them. Moderated by: Neil Matsumoto, Executive Editor, ICG Magazine.

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Watch	THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part One Runtime: 03:10 Neil Matsumoto introduces the panel Ted Schilowitz of RED Digital Cinema begin his presentation
To Watch this clip you must be a member of Creatasphere: A Content Creators Community - JOIN NOW	THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Two Runtime: 04:18 Ted Schilowitz continues his presentation All specifications subject to change - Red is an active development process RED is real Pictures from the field
To Watch this clip you must be a member of Creatasphere: A Content Creators Community - JOIN NOW	THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Three Runtime: 08:00 Mysterium sensor Optics 4K REDCODE RAW RED ALERT & REDCINE
To Watch this clip you must be a member of Creatasphere: A Content Creators Community - JOIN NOW	THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Four Runtime: 05:28 What is the color space of the DPX files? What has been the biggest misconception about the camera? How does RED handle 2K? When shooting in 2K, do the other dynamics of the sensor change? How much about RED is proprietary? What about scaled 2K? When shooting in 2K, does it double the focal length of the lens?
To Watch this clip you must be a member of Creatasphere: A Content Creators Community - JOIN NOW	THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Five Runtime: 04:13 Michael Cioni of PlasterCITY Digital Post, LLC Panasonic P2 set a solid ground for the data centric world Breakdown RED workflow for the different users instead of a single bundled workflow Workflow is scalable just the the camera REDtv, REDfast, REDfinish
To Watch this clip you must be a member of C3: Content Creators Community - JOIN NOW	THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Six Runtime: 03:52 REDtv: DITs make disk images of footage & DVD dailies on set Avid and Final Cut Pro workflow Final Cut Pro - ProRes, edit natively, color correct Avid - One light correction then tape dailies and EDL Output to master tape
To Watch this clip you must be a member of Creatasphere: A Content Creators Community - JOIN NOW	THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Seven Runtime: 05:13 REDfast: Same onset backup as well as LTO tape Have to be in a Final Cut Pro workflow Directly into Final Cut Pro using Quicktime Edit natively Create an EDL for possibility of 4K online Output to master tape or REDfinish D5 now 2K compliant REDfinish: Starts with REDfast Conform to 4K DPX DPX Mastering DCP Delivery, Film Print, Master Tape Data Archiving: Dailies on LOT3 or LTO4 DPX on DLT-S4 DCP 2K to D5 2K
To Watch this clip you must be a member of Creatasphere: A Content Creators Community - JOIN NOW	THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Eight Runtime: 04:23 Final Cut Pro 2K Offline Demo Camera Quicktime movies created in camera - 4K, 2K, Medium, Proxy Cut Quicktime reference movies in Final Cut Pro in real time 80% full quality of 2K
To Watch this clip you must be a member of Creatasphere: A Content Creators Community - JOIN NOW	THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Nine Runtime: 06:10 How do you make sure when you copy files on set they do not get lost? Will RED be opening up in the post production world? What projects are being shot out there with RED? What type of performance would you need to cut a feature? How do you mark selected takes? How do you use Color with RED?
To Watch this clip you must be a member of Creatasphere: A Content Creators Community - JOIN NOW	THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Ten Runtime: 06:12 Joseph Toman of disarm films speaks about the pieces he shot on RED What did the crew consist of? What was on the camera rig? Bengt Jan Jönsson, Cinematographer speaks about his recent RED project How was the camera outfitted? What kind of crew? What was your biggest "wow" factor?
To Watch this clip you must be a member of Creatasphere: A Content Creators Community - JOIN NOW	THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Eleven Runtime: 05:51 Does shooting in raw diminish the Director of Photography's artistic control? In terms of your recent projects using RED, what would you like to see in future upgrades? Ted Schilowitz addresses the viewfinder and monitoring pathways
To Watch this clip you must be a member of Creatasphere: A Content Creators Community - JOIN NOW	THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Twelve Runtime: 06:25 Did you use handheld on your project? How was monitoring and playback handled? What was your experience shooting 4K?
To Watch this clip you must be a member of Creatasphere: A Content Creators Community - JOIN NOW	THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Thirteen Runtime: 05:43 What is the rating of the camera? What did you shoot your spot at Bengt? What about filters? Compare RED lenses versus others What is the coverage of the lenses
To Watch this clip you must be a member of Creatasphere: A Content Creators Community - JOIN NOW	THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Fourteen Runtime: 04:43 Is the toolset for working with raw footage in RED ALERT & REDCINE similar to Photoshop? Is there a plan to be able to attach a laptop to the camera? What happens if the look that was recorded to the Quicktime movies by the camera wants to be changed later? It isn't really painting
To Watch this clip you must be a member of Creatasphere: A Content Creators Community - JOIN NOW	THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Fifteen Runtime: 06:45 What about the render hit? Realtime output Firmware updates like a new film stock
To Watch this clip you must be a member of Creatasphere: A Content Creators Community - JOIN NOW	THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Sixteen Runtime: 04:57 Do you have to use certain lenses with RED? What about batching? How do you send your looks downstream? Log and transfer for RED in works for Final Cut Pro Can I use still camera lenses with RED? How do you protect for different aspects?

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