The RED ONE CMOS sensor gathers huge amounts of light data, which allowed us to use high-end lenses mounted on the RED ONE and get a selective narrow depth of field similar to 35mm film. The preview images let us block and shoot the master scenes correctly for the animated graphics, calculating the calories over the women’s heads in relation to their action inside the elevator.
Step 2
LIGHT AS YOU WOULD FOR FILM
Exposure is far more critical when working with RED and requires extremely precise light measurements and careful lighting. In the simplest of terms, overexposure with RED will definitely blow out highlights, from which no detail can be recovered; underexposure means noise in the shadows that can become more obvious and problematic once the color-correction process in post is underway. Light your scenes exactly as you would for 35mm film.
Login Required
If you have a username and password, please login:
StudioDaily stories are always free. In order to access stories from our training and tutorials archives, we require a one-time registration. Please click here to register.
Post your comments below
