We are trying to add some resources to the local community, and what better way than to share some of our workflows.
1) Canon 5d MKII Post Workflow:
Definitely one of the easier post workflows, but for on set monitoring this camera can be a bit of a pain. If you plan on just connecting an HDMI and monitoring while your DP uses the rear LCD, sorry… The camera doesn’t have enough processing power to send out two signals ( It’s a DSLR with video enabled what do you excpect? Still pretty great). So it cuts out the rear LCD to distribute the signal through the HDMI port. As a solution to this we grabbed a Blackmagic HDMI- HDSDI Mini Converter from Abel Cine. With this device you still lose the rear LCD once the HDMI is plugged in, but you can have an onboard monitor with one of the Blackmagic HD-SDI connections for camera crew, and the directors/client monitor can use the remaining HD-SDI port from the converter.
2) RED ONE Post Workflow
This worklow has been evolving since 2008. After two years of fan boys saying it rocks, and veterans saying it will never work. The workflow of RED is one of it’s graces. To be able to shoot 35mm quality footage @ 4k, and immidietly back that up and begin cutting within minutes of wrapping a day, and having dailies to your client almost instantaneously is a real push for the RED Revolution.
3) Arri Alexa Post Workflow:
One of the new heavy weights of Digital Cinema cameras, the Alexa gives you a high quality cinematic image, with the latitude of film, but with the ease of digital. This workflow can be done through SXS cards, or by tethering to a Tape recorder, or Digital recorder. By shooting directly to SXS you get files that are either Pro Res 422, or Pro Res 444. Which is really great for editorial, and a fast paced post process. If you want a bit more latitude in post you can record into a digital recorder that will enable ARRIRAW in post so you have the full gamut of sensor information as it was shot.
4) Sony F35 – Post Production Workflow:
This was Sony’s first big response to the release of the RED ONE. Looking very similar to the F23, this cameras upgraded insides make it a powerhouse over its predecessor. This camera feel is much like a traditional film camera, and was a pleasure to work with, giving me a great SLog image to work with in post. The downside to this camera is having the big recording unit attached or tethered, but nothing different from a giant film mag. For hand held shots though, I may look else where.
5) Vision Research Phantom Slow Motion Camera – Post Production Workflow:
This camera is an oddball in the sense that it was not made to be used in commercial and film, but for recording crash testing of vehicles to help with car safety. But for it’s technical ability and amazing image, it was quickly adopted by the film industry, and now the commercial advertising industry. With the ability to go to 1000 frames @ 1080p this camera allows the human eye to see things we didn’t even know occurred. This workflow can be achieved either with tethering the camera control unit to an HDCAM SR deck for tape backup, or the .CINE files from the Phantom can be stored and converted into Pro Res 444 with Final Cut Pro.
This is an open forum so if there are any issues or comments, please leave us some feedback in the comment section below.
Happy New Year Everyone! Welcome 2011,
We hope you all had a fun and relaxing holidays.
We just wanted to update you guys on our AASF launch party in December.
It was a huge success!! We raised over $7000 for the fund, and we are so happy to be a part of it!
Here are some shots of the night, with a video soon to come!
I went out before most of the leaves were gone in Northern Ontario and shot some backplates and HDR spheres for cg car visualization.
There was a big rain storm two weeks ago, and since it wasn’t too cold I seized the opportunity to get some great backplates and hdr spheres with lots of light reflections, and ground details.
Mercedes GLK-350 through Tunnel , HDR and backplate provided my MAground
Models Created By : Squir
To view more renders go to Scott’s blog
Utilizing the RED ONE with MX along with a 35mm Cooke iLens I was able to shoot and matchmove footage and then import it into Cinema 4d. In a few blog posts there will be some more renders, and beauty renders.