This is the latest demo reel for Director of Photography Cody Cuellar. His works include feature films, commercials, music videos and short films. Most of the footage in this reel was shot with the Red Epic or Red One cameras. Cody is available for hire with our Red Epic camera, along with package deals for DP, DIT and Epic rentals. Contact us now for more information.
Preface from the author: There is no real scientific setup to these tests, it’s purely a real-world sample of the practical application of HDRx vs under exposure with the Red Epic. It’s in no-way a perfect representation of the function, but more or less just one real-world case and how it can be used in some instances to reduce noise.
Up until recently we haven’t done a lot of testing with the HDRx function with the Epic, as 13+ stops of dynamic range is plenty in almost every situation, at least the way I typically like to shoot. One of the main issues with motion HDR is that it’s just too much latitude, and once you bring the contrast back to where you want it, you could have shot the original image and graded it to look almost identical. What I wanted to try to show is how it can be thought of to reduce shadow noise more-so than just protect highlights, especially when the final image is meant to look low contrast. It’s essentially saying the same thing, but just thinking about it differently in terms of exposure since with digital you typically expose for the highlights and let the shadows fall where they may – or add more light to these areas of the scene. Continue reading
In today’s lesson we’ll be importing and setting up the metadata pass on Red One Footage. I’ll explain a few things I talked about in the video in more detail and hopefully answer any questions you have. If you want to know more, feel free to leave a comment and we’ll address it. Read below to get a little more in-depth explanations of various parts of the tutorial. Continue reading
Red Sky Pictures recently provided DIT services for Eyewax TV’s production for Insomniac’s Electric Daisy Carnival. With three Epic cameras, and six DSLRs, Red Sky had to provide an efficient workflow to manage terabytes worth of media throughout the day, as well as a way for pre-color-corrected files to be handed off for same-day editing. The workflow allowed a final product to be turned around just a few days after the wrap of the three-day, 36-hour music festival.
EDC is one of the largest electronic music festivals in the country, and showcases many of the world’s best DJ’s along-side awesome art displays and fun carnival rides. The experience really is like stepping into another world, but still fun nonetheless. Red Sky is excited to build even faster workflows for data management for these productions in the future.
Color Correction is one of the most important, yet oftentimes overlooked and under-budgeted aspect of filmmaking in the non-studio market. With today’s digital cameras, professional grade color correction will make a world of difference with any type of production. The quality of today’s high-end cameras – such as the Red Epic, Red One, or Arri Alexa to name a few – is astonishing and according to some, even surpasses film. These cameras are able to acquire so much data that the images don’t look good to our eyes right out of the camera because they look too “flat” and “desaturated.” This allows an extreme amount of creative freedom in post-production but also requires a lot of time to achieve the right looks. I’ll show some visual examples below first, then explain how the color grading process can help your specific project. Continue reading