Archive for December, 2010


rumorama – canon t2i shooting 4k @ 24fps

Here’s what we’re all watching for on New Year’s day.  Philip Bloom has taken the lead on reporting this, here’s the link to all the most relevant information.  Now I’m back to NukeX and Ocula training, I believe The Foundry will be the company to watch in 2011.

proactively • may next year be your best ever • peter

here’s a bonus throwback for all you old school fps gamers out there, happy New Year!


red epic up close in person

yup, it's for real

Whipping up an in-class thread.  Click thru for up to the frickin minute info.

proactively • REDucated • peter


researching OpenEXR pipelines for .R3D post

I want to start with an update and share with you that REDucation is, to say the least, a blast.  Being on the studio lot and learning from the experts is a dream experience.  Their insight into real world best production practices and on set etiquette is exactly what I was looking for when I signed up. My expectations have been surpassed exponentially, kudos to Createasphere to producing on a stellar training hands on opportunity.

The first two days have been focused on field production and camera setups.  We’ve had the opportunity to get hands on with RED One cameras with both the original M sensor and the recently updated MX sensor.  Tomorrow we delve further into post workflows so I’ve been doing a bit of research on the OpenEXR format developed by ILM for VFX artists.

Click the above pic to go to the OpenEXR website.  ssentially, OpenEXR format provides both full float 32bit and half float 16bit formats.  Since .R3D files are 12bit linear they fit nicely in the half-float OpenEXR wrapper.  The OpenEXR website sums this up nicely, stating “For linear images, this format provides 1024 (210) values per color component per f-stop, and 30 f-stops (25 – 2), with an additional 10 f-stops with reduced precision at the low end (denormals).”  Seems like that would nicely accommodate the 18 stops of latitude produced by the upcoming EPIC.  Graeme Nattress has a great explanation for converting .R3D files to OpenEXR using REDCINE-X (click the image for the full thread):

FYI Storm from The Foundry also supports exporting .R3D’s to both OpenEXR formats.  In the meantime, I’ll be combing through all the OpenEXR documentation.  Looks like it would fit into potential pipelines as a RED HDRx container to send to VFX houses which I’d postulate the VFX editor would conform along with the rest of a program for final color grade in a Nucoda Filmmaster or Autodesk Lustre, both of which can work with OpenEXR natively.  Lustre has a pretty sweet collection of getting started tutorials which my hotel connection s too slow for me to watch tonight.  Sigh.

proactively • this one goes to 12bit • peter


epic’s first day in the field

John Schwartzman, ASC has a… well… EPIC thread over at discussing his first day experiences shooting 22 3D setups with 4 RED Epics mounted to dueling 3ALITY DIgital TS-5 rigs on the set of Spider-Man 3D.

Additionally, RED announced some new RED STATION REDMAGS and there’s a new Machined RED Epic flapping its wings in the twitter-verse.

And I’ll be attending the first day of REDucation tomorrow.  Life is good.

proactively • on the ground for history in the making • peter


dynamic range research-o-rama

All this REDucation prep is refreshing my mind with concepts like color space, gamut, Look Up Table (LUT), etc.  And after watching the REDucation promo videos in the last post and learning about RED’s upcoming HDRx technology, I’ve been thinking about applying these concepts to the 5Dmarkii that I own while waiting to work with the RED cameras next week (and hopefully moving forward on a regular basis).  I’m seeing how it’s important to provide review LUTs for onset approval while rendering a flatter LUT for finishing can provide more latitude for the colorist.  And since I’m both shooter and colorist in my current role, I’m quite content to review footage with a flat LUT applied while shooting.

Here’s a video talking about creating and manipulating picture styles for the 5D and 7D (the picture style is essentially baking in a customizable LUT to your footage)

But why use one DSLR camera when you can use leverage a flat exposure range from two!?  Here’s some HDR video shot with two 5dmarkii’s using a beam splitter

1080p24 mpeg4 footage is OK and all though 4k 444 12bit linear REDCODE steps up the image latitude game to the next level.  Here’s an HDR video shot with two RED One’s

And another

And the rig E3D Creative used to pull all of this off

While flattening the applied gamma curve by adjusting the picture style increases the dynamic range of a single image, the process of compositing two or more images together to leverage the combined exposure range for maximum exposure detail is a work flow I would love to be a part of.  Stylistically I’m not a fan of the electric / surreal look traditionally seen in HDR images; I much prefer the look achieved in E3D Creative’s RED HDRx video.  Professionally, I love the ability to provide options to the client, director or what have you.  It will be interesting to find out more about the post pipeline for offline / online of HDRx RED footage.

Frame from first HDRx movie

Evan Luzi over at The Black and Blue has a good blog post about HDRx as well as a link to the thread which links to the first HDRx movie.  I’m also following the Epic HDR thread over at and there’s some cool information being disseminated.  Twenty pages deep you’ll find out the magic HDRx version bakes in the look and recording will max out at 5k 48fps.  Normal HDRx records two streams and processing is done in post.  Haven’t looked under the hood of The Foundry’s Storm beta too much though I’d imagine there should be some insight there as to how they plan to implement HDRx distribution and metadata tracking.  Funny that this all happened back on September 12th and I’m just catching up now.  Looking forward to the official catch up and meeting a slew of new folks next week.

proactively • slowly emerging from the campaign cave • peter


the foundry’s storm for red post


I’ve been furiously preparing to attend the upcoming REDucation course next week in LA, brushing up my RED knowledge and watching FXPHD courses ‘red102 comprehensive guide to red post workflow’ and ‘red206 red tales from production.’ As the universe pushes me deeper into 2k/4k work flows, color spaces, and 12bit lin 444 finishing workflows, along comes a Studio Daily email announcing The Foundry’s STORM, a new tool for RED/RAW post.  And it’s available as a public beta (until March 11, 2011)!

Apparently it was released back on November 1 so I’m a bit late to the party, but better late than not partying.  FXPHD even has a class available, stm101-introduction to storm,  taught by filmbot of Final Cut User fame.

Tangentally, a quick trip over to Final Cut User revealed this awesome two part interview and REDucation promo with Ted Schilowitz talking about the upcoming RED Epic:

I’ll hold off writing too much of a review here since I’m still diving into the deep end of the red post production pool.  When I come up for air I’ll formulate some thoughts with a bit of (hopefully work experience) perspective.  In the meantime, I can say I’m a huge fan of The Foundry’s ROLLINGSHUTTER which I’ve used extensively for finishing Canon 5D Mark II footage so I do have high hopes for this new app.

If you haven’t clicked through already, go take a read of Storm’s features and reviews, then download the public beta.

proactively • battening down the hatches • peter

December 2010
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