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THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part One
Runtime: 03:10

• Neil Matsumoto introduces the panel
  
• Ted Schilowitz of RED Digital Cinema begin his presentation
  

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THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Two
Runtime: 04:18

• Ted Schilowitz continues his presentation
  
• All specifications subject to change - Red is an active development process
  
• RED is real
  
• Pictures from the field
  

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THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Three
Runtime: 08:00

• Mysterium sensor
  
• Optics
  
• 4K
  
• REDCODE RAW
  
• RED ALERT & REDCINE
  

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THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Four
Runtime: 05:28

• What is the color space of the DPX files?
  
• What has been the biggest misconception about the camera?
  
• How does RED handle 2K?
  
• When shooting in 2K, do the other dynamics of the sensor change?
  
• How much about RED is proprietary?
  
• What about scaled 2K?
  
• When shooting in 2K, does it double the focal length of the lens?
  

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THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Five
Runtime: 04:13

• Michael Cioni of PlasterCITY Digital Post, LLC
  
• Panasonic P2 set a solid ground for the data centric world
  
• Breakdown RED workflow for the different users instead of a single bundled workflow
  
• Workflow is scalable just the the camera
  
• REDtv, REDfast, REDfinish
  

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THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Six
Runtime: 03:52

• REDtv:
  
• DITs make disk images of footage & DVD dailies on set
  
• Avid and Final Cut Pro workflow
  
• Final Cut Pro - ProRes, edit natively, color correct
  
• Avid - One light correction then tape dailies and EDL
  
• Output to master tape
  

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THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Seven
Runtime: 05:13

• REDfast:
  
  • Same onset backup as well as LTO tape
    
  • Have to be in a Final Cut Pro workflow
    
  • Directly into Final Cut Pro using Quicktime
    
  • Edit natively
    
  • Create an EDL for possibility of 4K online
    
  • Output to master tape or REDfinish
    
  • D5 now 2K compliant
• REDfinish:
  
  • Starts with REDfast
    
  • Conform to 4K DPX
    
  • DPX Mastering
    
  • DCP Delivery, Film Print, Master Tape
• Data Archiving:
  
  • Dailies on LOT3 or LTO4
    
  • DPX on DLT-S4
    
  • DCP 2K to D5 2K

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THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Eight
Runtime: 04:23

• Final Cut Pro 2K Offline Demo
  
• Camera Quicktime movies created in camera - 4K, 2K, Medium, Proxy
  
• Cut Quicktime reference movies in Final Cut Pro in real time
  80% full quality of 2K

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THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Nine
Runtime: 06:10

• How do you make sure when you copy files on set they do not get lost?
  
• Will RED be opening up in the post production world?
  
• What projects are being shot out there with RED?
  
• What type of performance would you need to cut a feature?
  
• How do you mark selected takes?
  
• How do you use Color with RED?

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THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Ten
Runtime: 06:12

• Joseph Toman of disarm films speaks about the pieces he shot on RED
  
• What did the crew consist of?
  
• What was on the camera rig?
  
• Bengt Jan Jönsson, Cinematographer speaks about his recent RED project
  
• How was the camera outfitted?
  
• What kind of crew?
  
• What was your biggest "wow" factor?

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THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Eleven
Runtime: 05:51

• Does shooting in raw diminish the Director of Photography's artistic control?
• In terms of your recent projects using RED, what would you like to see in future upgrades?
• Ted Schilowitz addresses the viewfinder and monitoring pathways

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THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Twelve
Runtime: 06:25

• Did you use handheld on your project?
  
• How was monitoring and playback handled?
  
• What was your experience shooting 4K?

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THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Thirteen
Runtime: 05:43

• What is the rating of the camera?
  
• What did you shoot your spot at Bengt?
  
• What about filters?
  
• Compare RED lenses versus others
  
• What is the coverage of the lenses

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THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Fourteen
Runtime: 04:43

• Is the toolset for working with raw footage in RED ALERT & REDCINE similar to Photoshop?
  
• Is there a plan to be able to attach a laptop to the camera?
  
• What happens if the look that was recorded to the Quicktime movies by the camera wants to be changed later?
  
• It isn't really painting

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THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Fifteen
Runtime: 06:45

• What about the render hit?
  
• Realtime output
  
• Firmware updates like a new film stock

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THE DYNAMIC CASE STUDY: FROM PRODUCTION THROUGH POST WITH RED IN THE REAL WORLD - Part Sixteen
Runtime: 04:57

• Do you have to use certain lenses with RED?
  
• What about batching?
  
• How do you send your looks downstream?
  
• Log and transfer for RED in works for Final Cut Pro
  
• Can I use still camera lenses with RED?
  
• How do you protect for different aspects?