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When Shooting Digital Video<br />
no backup. Keep in mind, though, fi lm is many times more vulnerable after it has been exposed, but<br />
this has not keep it from being used successfully for more than 100 years.<br />
Ideally, the media should be downloaded to a redundant RAID and checked before the chips are<br />
cleared or the drive reformatted and reused on set. The chips and drives are expensive, and there is<br />
a tendency to dump the media to drive and clear and reuse the chip as soon as possible to avoid<br />
slowing down the production. But if you haven’t checked the transfer, and a backup, don’t be too<br />
quick to dump the media.<br />
Red Camera Redcode<br />
The Red One camera uses a unique codec called Redcode that is recorded directly to drive in camera.<br />
The removable drives can be taken to the postproduction facility and downloaded, or they can be<br />
downloaded on the set to a laptop or other Mac. The fi le size is very small, smaller than DV, so media<br />
management and playback is fast and simple.<br />
Final Cut Pro 6 supports Redcode. Simply import the raw camera footage and start editing in native<br />
Redcode. While this sounds like voodoo, it requires no shaking of rattles or sacrifi cing of chickens.<br />
It doesn’t even require any input/output devices or video monitors. The Redcode is viewed directly<br />
on the computer screen. The down side of this is that the image can only be viewed on the computer<br />
screen. This is not a bad thing, per se, but at this time the closest thing to a 4 K monitor is the Sony<br />
4 k projector. And while this looks great, the $100,000 price tag is a bit high for most users. What’s<br />
needed here is a 4 K version of the Apple Cinema Display or a 4 K projector that anyone can afford.<br />
In the meantime, we will all need to tough it out with the current HD Cinema Display.<br />
Redcode is intended for projects headed for theatrical distribution. It projects as well as 35 mm or<br />
can be used to make 35 mm prints by simply treating the Redcode as a digital intermediate (DI). For<br />
projects headed to video, the Redcode can be down converted to HD video in any format. It down<br />
converts well to ProRes 422, and if there is no intent to use the Redcode, the camera footage can be<br />
converted to ProRes 422 after it is imported and before editing. This makes it possible to see the<br />
fi nished look of the HD video on your HD monitor. The ProRes 422 can be composted in Motion<br />
and graded in Color and output to any HD or SD video format.<br />
Capturing and Preparing Success and Son from the Ocean of<br />
Storms by Glynn Beard<br />
Success was shot on Sony HD Cam using the F900 Cine Alta. The production frame rate was<br />
23.98 FPS. The capture phase of the workfl ow proceeded like this:<br />
• The production tapes were down-converted to DV Cam at 29.97 FPS by Digital Film Tree in Los<br />
Angeles.<br />
• These DV clones were logged and captured into Final Cut Pro.<br />
• A batch list was exported from Final Cut and this batch list was imported into Cinema Tools. This<br />
became the Cinema Tools database, which was linked to the original 29.97 DV video media bringing<br />
all of the shots online in Cinema Tools.<br />
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