Posted on February 14th, 2010 No comments
Yesterday, I attended the Red Day presentation done at Ren-Mar Studios (oops…. I meant Red Studios Hollywood – old habits die hard in this town..). Saw a lot of familiar faces, and met a lot of new ones. I especially enjoyed seeing Assimilate’s use of dual Red Rocket cards to provide live playout of stereoscopic Red material with full debayering in real time. That alone has a lot of potential that I hope to explore.
This morning, a discussion on the CML centered around things Red (and possibly other companies) might be able to do that would be truly revolutionary and useful. It seems to many that most of the talk involving new digital cameras centers around things like improved dynamic range and resolution – important things to be sure, but ones that are really incremental improvements, not revolutionary changes. To be revolutionary, something has to be presented that accomplishes something that cannot currently be accomplished, or at least accomplishes it in a new way that changes the way one looks at the problem. It is very helpful if that change is also useful, in terms of either making a task more efficient, or eliminating costs associated with doing things using the current methods. I’ve got some things to suggest that I think might be revolutionary and useful. All relate to characteristics of the current Red systems that are often criticized, such as its use of a proprietary file and compression format, the need to supply personnel and systems for backing up files at the time of production, the complications involved in maintaining a consistent color path for dailies, the need to constantly transcode camera files, and the lack of a proper archival element. Here are some of them:
Posted on November 28th, 2009 No comments
I belong to an Internet discussion group called the CML, or Cinematography Mailing List. This is a group that was started a little over 10 years ago by Geoff Boyle, a fine cinematographer from the U.K., and has since grown to thousands of members. The membership largely consists of industry professionals, primarily in the camera department, but also some who work in other areas of production and have a personal or professional interest in cinematography and the many things that surround it. There are many, many very informative and lively conversations on this group, and it sometimes gets a bit heated. When that happens, the cause is often (certainly not always, but often) the endless misunderstandings between those working in production, and those working in post production.