Jump to content


Photo

First time with Red


  • Please log in to reply
8 replies to this topic

#1 Michael Narimalla

Michael Narimalla

    New

  • Basic Members
  • Pip
  • 8 posts
  • Student
  • Oakville, Ontario, Canada

Posted 24 April 2009 - 12:14 PM

Hi I'm a film student and I am DPing a short film that will potentially be shot on RED. the film is gritty and fast paced and i would like a certain amount of grain. however my concern is that the RED image is TOO pristine. does anyone with RED experience know how I can make this work or would I be better off with another camera? (although my preference is film, it is not an option for this project)
  • 0

#2 Tom Lowe

Tom Lowe
  • Basic Members
  • PipPipPipPip
  • 1211 posts
  • Director
  • somewhere worshipping Terrence Malick

Posted 24 April 2009 - 12:35 PM

Obviously you can add film grain to it in post, if you want. There are dozens of good plugins for that type of thing.
  • 0

#3 John Sprung

John Sprung
  • Sustaining Members
  • 4635 posts
  • Other

Posted 24 April 2009 - 01:37 PM

The other thing to try is underexposing, going to deep stops and using the natural noise of the camera's low end as grain. Shoot tests and look at them on a good monitor first, as this is more dangerous than just shooting clean normal exposure data and graining it up in post. But it's also far more educational, you learn where the limits are.





-- J.S.
  • 0

#4 Michael Narimalla

Michael Narimalla

    New

  • Basic Members
  • Pip
  • 8 posts
  • Student
  • Oakville, Ontario, Canada

Posted 24 April 2009 - 02:27 PM

Thanks guys, very helpful.
  • 0

#5 Eric H

Eric H
  • Basic Members
  • PipPip
  • 29 posts
  • Cinematographer
  • New York

Posted 24 April 2009 - 04:56 PM

all I can say is.........test the RED......under and over exposure and at exposure.....open it in post, crush it in post.....add grain in AE or in the Flame....

it's the only way you'll know if you like it or not and whether it works for the project..

I like the RED, because of one single reason....it has added to the way I can express what I am going to shoot. Being a DP that comes from a film background, I treat the RED as if I have a new emulsion.

whether it's 7201, 5219, Eterna or the HVX200....they all have a certain level of performance that will apply to a certain task...knowing their parameters will help you decide what works for each shoot.

Personally, I don't like the noise that the RED or any digital form produces when under-exposed...that doesn't mean I won't use it if the story says I need noise. I just try to be involved in the post process to have some say in where it all goes.

Eric
  • 0

#6 Jamie Metzger

Jamie Metzger
  • Basic Members
  • PipPipPipPip
  • 773 posts
  • Cinematographer
  • San Francisco

Posted 24 April 2009 - 11:15 PM

Shoot super 16.
  • 0

#7 Satsuki Murashige

Satsuki Murashige
  • Sustaining Members
  • 3510 posts
  • Cinematographer
  • San Francisco, CA

Posted 25 April 2009 - 03:07 AM

Obviously, test it first. But I think you'll probably prefer a "film grain" filter in post to in-camera noise produced by the Red. IMO, video noise and Red noise in particular looks awful - if you've seen 1600ASA DSLR exposures with no noise removal filter added, that's about what you can expect to see with underexposed Red footage. Just my personal opinion...
  • 0

#8 K Borowski

K Borowski
  • Basic Members
  • PipPipPipPip
  • 3905 posts
  • Camera Operator
  • I.A.T.S.E. Local # 600 Eastern Region

Posted 25 April 2009 - 05:42 AM

Shoot super 16.


  • 0

#9 Michael Narimalla

Michael Narimalla

    New

  • Basic Members
  • Pip
  • 8 posts
  • Student
  • Oakville, Ontario, Canada

Posted 25 April 2009 - 08:27 AM

Ya Super16 would be nice but I have access to a RED through a friend at PS for a very low price and we just cant afford the processing costs of film. Thank you everyone for your advice, I think once I do a few tests (I havn't even ever touched a RED) then I will have a better idea of how to get the desired look.
  • 0


Abel Cine

Ritter Battery

CineLab

FJS International, LLC

Tai Audio

Technodolly

Glidecam

Opal

rebotnix Technologies

Wooden Camera

The Slider

CineTape

Broadcast Solutions Inc

Media Blackout - Custom Cables and AKS

Gamma Ray Digital Inc

Willys Widgets

Visual Products

Metropolis Post

Rig Wheels Passport

Aerial Filmworks

Paralinx LLC

The Slider

Gamma Ray Digital Inc

Ritter Battery

Tai Audio

FJS International, LLC

Aerial Filmworks

Visual Products

CineLab

Glidecam

Opal

Metropolis Post

rebotnix Technologies

Broadcast Solutions Inc

Technodolly

Rig Wheels Passport

Willys Widgets

Wooden Camera

Paralinx LLC

CineTape

Media Blackout - Custom Cables and AKS

Abel Cine