Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
The Filmmaker’s Guide to Final Cut Pro Workfl ow<br />
hand-holding, jib mounting, or just about any confi guration needed. Perhaps the most shocking<br />
feature of the camera is the price, less than $20,000 without lens. The fi rst 100 cameras have been<br />
sold and are now being delivered.<br />
The question on everyone’s mind is, what impact will this camera and others to follow have on 35 mm<br />
fi lm? Why shoot 35 mm if this looks better, can be released to theaters on 35 mm, 4 K or HD, when<br />
the cost of this camera is less than raw fi lm for a feature? So far these questions have gone unanswered<br />
because the camera is just too new. Most of what is known about it comes from rumors and<br />
factory tests. Now that these cameras are out there being used, we will soon have a much better<br />
picture of how the camera performs.<br />
The workfl ow for this camera will be similar to shooting DVC Pro HD to P2 cards. Only, in this<br />
case, the Redcode is imported from the removable camera drive to the editing drive, which can even<br />
be a fi rewire drive. The 4 K can be seen on the computer screen, but there is no video format equivalent<br />
to this 4 K and, so, it cannot be displayed on a video monitor. It is possible to send a 720P HD<br />
image to an HD monitor in real time from the Redcode without affecting the native Redcode in any<br />
way. In this case, the 720P in encoded with the Redcode to serve as a video proxy for the 4 K. Unlike<br />
other proxy videos, this is part of the Redcode and the native media need not be replaced in online.<br />
It simply allows the Redcode to be viewed in 720P while editing.<br />
176
Change language