An ad creative’s view of the Red camera. It’s all about the workflow.

RED camera
Image by Titanas via Flickr

Editors note: I spent a little over a year working on the Red Camera developer’s other business, Oakley.

I’ve worked on mostly digital the last couple of years and haven’t created an actual TV spot in awhile. The last national TV shoot I was on we filmed with 35 millimeter and we got a great looking negative at the end of the day. So why would anyone want to change? Workflow, that’s why.

With all the web video production we’ve done recently, we’ve experimented with different HD camera formats. But we haven’t had the budget to use the Red Camera until the last job.

The Red has been the first time I’ve gone into edit with product that has a similar look and feel to film – it simply doesn’t feel like a compromise. And maybe even feels like like an improvement when it comes to process. Here are my big takeaways: (To be fair, I’ve never worked with the Arri digital camera or the Sony F35 – I hear those are awesome too.)

  • It blows up better than 35 – meaning a lot more flexibility for framing durring the edit. Basically you can make cuts that weren’t even shot.
  • Everything goes faster on the set. No more reloading mags, constantly checking the gate, waiting for the camera to get up to speed. Heck, you don’t even have to change flash cards. And less stopping and starting means actors stay in the groove.
  • The 4K image blows away everything else I’ve worked with from a “video camera.” Need a close up? Try the medium. Need a still frame? Got that too.
  • WYSIWYG: No more viewfinder taps with crazy screens and title safe areas. Now you’re exactly sure what you’re getting on the set. No more surprises in edit.
  • So what if Avid doesn’t like Red footage. Avid seems to be headed down the road of Quark Express. That may be too bad but it’s not my problem.
  • Tweaking the color/image in post doesn’t have to be limited to a very expensive 2-hour session with a colorist. Since you’re not working with a low-quality “one light” you can experiment with looks in FCP before actually finishing. No more on-the-fly decisions.
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Posted on: April 23, 2010, by :