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Documentary - Mixing Red w/ other cameras

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Bella Reeves
Documentary - Mixing Red w/ other cameras
on May 27, 2010 at 9:29:55 pm

We are shooting documentary-style promotional videos. The final product will be published to web, DVD and shown large screen for tradeshows. Videos will include mixed format stock footage, b-roll and formal interviews. We've scheduled the majority of interviews during industry related conferences, which really knocks down our # of shoot days; in turn, allowing us to up production value.

The budget allows for use of the Red, experienced DPs & beautiful locations for our formal interviews, but no Red for b-roll (large ships, technology, machines, submarines, inpromtu interviews) which would be shot on in-house Sony Z7Us w/ LetusUltimate adapters. The concern is that the footage won't cut together well and that quality contrast would be distracting.

I am a young producer (23) who landed a job with lots of opportunity/potential with a company whose primary function is government contracted R&D & project management. I am building the video dept. from the ground up - this being our first large project. I will be editing the video myself. I am working on a post workflow and seeking consultation from adept post houses prior to the purchase of a post setup. I can edit, I am determined and will get the job done, but do not have the experience to pull off complex color grading/matching. I want to make the smart choice, set a standard for our quality of work and learn as much as I can.

I would truly appreciate any constructive criticism, feedback, comments, opinions or suggestions. Thank you for your time!

--
Kristin Bella Reeves
kreeves@aciusa.org


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Noah Kadner
Re: Documentary - Mixing Red w/ other cameras
on May 28, 2010 at 4:31:08 am

Shoot everything 24p for starters...

Noah

Check out my book: RED: The Ultimate Guide to Using the Revolutionary Camera!
Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Sony EX1 Guidebook, Panasonic HVX200, Canon EOS 5D Mark II and Canon 7D.
Watch Formosa- My indie movie shot with the SDX900 and finished with Final Cut Studio.


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Bella Reeves
Re: Documentary - Mixing Red w/ other cameras
on May 28, 2010 at 3:08:59 pm

Thank you Noah. Do you think that if I shoot everything 24p that it will cut together well?


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Noah Kadner
Re: Documentary - Mixing Red w/ other cameras
on May 29, 2010 at 2:25:17 pm

Relatively speaking- yes. Not exactly as simple as mixing footage from a single camera. But yeah if you shoot everything 24p you'll at least save yourself from frame rate conversion issues.

Noah

Check out my book: RED: The Ultimate Guide to Using the Revolutionary Camera!
Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Sony EX1 Guidebook, Panasonic HVX200, Canon EOS 5D Mark II and Canon 7D.
Watch Formosa- My indie movie shot with the SDX900 and finished with Final Cut Studio.


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John Heagy
Re: Documentary - Mixing Red w/ other cameras
on May 29, 2010 at 10:04:22 pm

[Bella Reeves] "Videos will include mixed format stock footage, b-roll and formal interviews. "

Hi Bella,

I would have to recommend against 24p considering the above statement. If you choose to work in 24p native, then everything on your timeline will need to be 24p, including the stock and military footage. You'd need to work in a "24p clean room" which only works if you are shooting everything. As soon as you bring in footage from somewhere else - it will most likely not be 24p native and will suffer when you convert it to 24p. IMHO the only reasons to edit native 24p are theatrical release, international delivery, and compression efficiency - and this only if you need more than 2hr on a DVD.

1080i60 will be the most flexible format for you. If you want a "film look" shoot 30p - that will separate it from the typical 60i video look - yet happily coexist on the 60i timeline. Some may say shoot 24p then add 3:2, which you can do, but you will have to add 3:2 as a separate process after Log and Transfer or Red Cine-X. Trust me... you don't want to do this.

Now, as far as the two cameras cutting well together... only one way to know... test it. The best way to help it cut together would be to let a skilled colorist grade the finished edit.

I see you're in South Jersey. You wouldn't happen to work near the USS Cornfield? We're right down the street. Feel free to call if you want to discuss in detail.

John Heagy
NFL Films
856-222-3500



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