Production

No on Prop 8 (California) — shot on RED

Another successful RED project on a shoestring budget

I’ll revisit this next week when I have more time to write (I’m about to go into a four day RED project that will shoot over this coming weekend) but I’m very proud of this spot and–as it was just released onto YouTube–I wanted to show it off.

Shot by an all-volunteer crew with donated equipment, we shot it in an afternoon and finished it in a week of post. (It took a week only because the online editor was working on another spot for the same campaign and the same time.) And the RED worked flawlessly.

I’ll go into the lighting in detail later, but for now I’ll just give you the summary of how we did this:

RED, build 16
Zeiss Super Speed lenses
Daylight and HMI
Redcode 36

Shot viewing REDSpace, using zebras set at 103 (their max, which still allows for a further .4 stop of exposure before clipping), “exposing to the right” and working off a 17″ Panasonic LCD monitor rather than just using a light meter alone.

One-light processed through REDRushes into 1920×1080 ProResHQ with Rec 709 gamma and color space.

Cut in Final Cut Pro, and graded using Magic Bullet Looks.

The one minor “discovery” about the RED was the one I wrote of in this article.

The director was Tom Donald, and it was produced by Luke Seerveld.

More later next week, after my next joyous excursion with the RED. Until then… enjoy!


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Art Adams is a cinema lens specialist at ARRI, Inc. Before that, he was a freelance cinematographer for 26 years. You can see his work at http://www.artadamsdp.com. Art has been published in HD Video Pro,…

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