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In this tech talk about how the RED fits in to our workflow Dan brings the long winded and sometimes misguided questions and Nick straitens us out with all the answers.

 

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Hello everyone and welcome back to the
Fairlawn camera room we are super
excited today to be talking about our
new red and of course Nick is here to
explain what it is we bought and how
it’s gonna help our productions how it’s
gonna serve our customers and this is
very exciting
yes so this is the red epic w with the
helium 8k sensor and so there isn’t a
whole lot in the market that can record
a que but it’s roughly like 32
megapixels every single frame so you
know a 5d is you know 24 28 megapixels
depending on which so each frame of this
has more detail than it’s still frame
from a fight I have to ask the obvious
question why yeah why would you need to
shoot a que is there a point where
perhaps in 2018 that that might be
overkill certainly for some project but
there is a reason why you might want to
go out you take a yeah so one reason is
that it allows you to do have some
options in terms of reframing mm-hm
so if you shoot something a little bit
wider you can always crop in and adjust
your framing which is super nice and
another reason is most cameras that are
recording 4k aren’t really recording a
true 4k image they’re recording like a
4k Bayer image and so you know maybe
roughly you have 2k worth of green
pixels in 1k worth of red pixels in 1k
where the blue pixels and it’s kind of
like putting those together to make like
a 4k image but it’s not really not true
4k so but if you’re shooting a K you can
really down sample that and get a 4k
image that looks better than the 4k
image out of a traditional 4k camera
sounds like there’s a lot of math
involved didn’t we go to the creative
field to avoid math but it turns out
there’s a lot of technology to make a
creatives happy math was always my
favorite subject going up so I’m kind of
a weirdo in this field well my job is to
go out and drum up video production jobs
and to talk to clients and to see what
we can do to improve their video
production content or do great work for
our clients and so a lot of times
clients will say to me
let’s shoot it on the red what are the
things I need to be telling clients when
they say let’s shoot that on the red
there’s some pitfalls there’s some
challenges there’s some workflow so
stumbling one of the great things about
the red is that and almost any
circumstance are gonna be using this
camera you’re gonna be recording raw
video and that’s fantastic because it
allows you to make a lot of decisions
while you’re editing and a lot of
adjustments in the image that you would
otherwise have to make and decide on
like for a fact like when you’re
shooting so it allows you to push off a
lot of that too when you’re editing and
you have a lot more control over the
image in the computer if you’re shooting
raw then if you’re shooting on any other
camera that isn’t shooting wrong but
there’s a big disadvantage of that is if
you’re trying to do something that’s
quick turnaround maybe you want to like
just live with the decisions you shot
with so with the red the post-production
process is gonna be a little more
time-consuming but the product that
you’re gonna get out of that is going to
be a lot nicer because you’re able to
push it a lot further in the computer
none of the canons in our collection are
worried that they’re gonna be laid off
and fired immediately just because we
have this there’s a very bright future
in this operation for the Canon cameras
we have the c300 and the all to see
100’s and all that yeah so they have
their place so you know I don’t
necessarily want to say a little bit
lower end projects but anything works
maybe a little bit more run-and-gun or a
little bit faster turnaround time at the
end anything where you don’t want to be
recording so on a 256 gig card on this
you’re getting you know 20 minutes of
footage right so you know you’re very
quickly going to fill up even the
biggest hard drives when you’re using
this so it’s something that you want to
use when you’re doing really short takes
when you’re not going to be producing
hours worth of footage if you’re going
to be producing hours worth of footage
for a project you’re definitely gonna
want to shoot that on a Canon let me
understand when I’m talking to clients
when I’m talking to producers that want
to shoot on red that as we advise and as
we make decisions about how the
production staff should look how many
people do we need explain the additional
roles that might be required on set
especially related to media may
judgement if we’re shooting on ready yep
so first I will dress media management
you’re gonna be producing a lot more
data and also the read doesn’t have the
ability to record on two cards
internally so I kind of see three
hundred see one hundred we’re getting
that back up right as we shoot that
doesn’t happen on the red so you’re
probably gonna want someone working
what’s called di T digital intermediate
transfer and so basically they’re just
there with a computer they’re backing
things up they’re making sure that all
the footage that you recorded is there
so that you know if you need to clear a
card in the field that you know you’re
confident that you already have the
footage so that’s certainly one extra
role another one and a lot of our cannon
shoots we might have a specialized audio
person regardless but with the red you
absolutely have to have that you’re not
gonna be recording XLR audio into this
so you’re always at the very least going
to have you know someone there as an
audio person and then I guess lastly
this isn’t quite as good in low light as
the cannons so you might have an
additional lighting person so obviously
we want we light all of our shoots to
some extent but sometimes with a C 100
or C 300 it might be a soft box and then
just supplementing the natural light
that’s there and that’s typically not
the way we’re gonna want to shoot with
this we’re gonna be adding a little bit
more light to the scenes then we might
need to with a cannon so you might have
an additional body or two in the
lighting department and we certainly
don’t want to take away from the
workflow or the production style where
we go out and shoot really cinematic
corporate video with our cannons or with
a Panasonic gh4
the June crane and all that kind of
stuff that’s fun and the results are
incredible but the workflow and the
production style and the needs of the
production crew on set are very
different here absolutely and there’s
nothing wrong with doing run-and-gun
video and producing a lot of great video
content on location and doing it with a
very lean staff in a cannon or a pan but
we can’t do that with this it’s all
about picking the right camera for the
right job this is great and it’s gonna
open up some new possibilities for us
but we’re certainly not going to abandon
cannanore Panasonic cameras and go for
red on everything well as always Nick
gives me the education I need on what it
is that we bought and we have added what
I think are some incredible capabilities
here and again like you said opening
them up some new opportunities for us so
thank you for watching and some of the
feedback that we get when we show these
cameras we get the comments that say why
don’t you show the footage from the
camera why don’t we do so I think our
next order of business would be to go
out and do side-by-side comparisons and
have a lot of fun and we’ll be doing
that indoors in January that’s sort of
an indoors in January maybe go outside
for a second that kind of thing yeah I
think so all right that’ll be our task
we will be back with side-by-side
comparison footage and a lot of
different lighting scenarios as you said
with the low lighting concerns and they
may be doing some additional lighting
and all that kind of stuff
but we’re gonna do some technical
comparisons and exciting footage to come
and certainly on the portfolio as well
as we start production on the red thanks
for watching thanks for sharing all the
technical and we’ll see on the next one

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