LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

RED TECH: Black Shade Calibration: When, Why, and How

COW Library : : RED Digital Cinema : RED TECH: Black Shade Calibration: When, Why, and How
CreativeCOW presents RED TECH: Black Shade Calibration: When, Why, and How -- RED Digital Cinema


Irvine, CA
© RED Digital Cinema. All rights reserved.




In this tutorial, you'll learn:
• What Black Shading is and why it is important
• How to perform a Black Shade Calibration
• Navigating to Menu - Settings - Maintenance - Calibrate - Sensor
• Differences between Manual and Auto Calibration
• Which calibration is recommended
• How often should it be done


For more details, visit RED 101: Black Shade Calibration at RED.com


? DOWNLOAD the corresponding Operation Guide for more information by camera here.

? TO REQUEST a video on a specific topic, please email REDTECH[at]red.com

? WATCH all the RED TECH videos here.

? SUBSCRIBE to RED Digital Cinema’s YouTube Channel here

? CONNECT with RED Digital Cinema online:
Visit the RED Digital Cinema WEBSITE: http://www.red.com/
Follow RED Digital Cinema on TWITTER: https://twitter.com/red_cinema
Follow RED Digital Cinema on INSTAGRAM:
https://www.instagram.com/reddigitalcinema
Follow RED Digital Cinema on FACEBOOK: https://www.facebook.com/reddigitalcinema

 


Related Articles / Tutorials:
RED Camera
MEGAN: Award-winning Viral Fan Short Tests 8K RED Workflow

MEGAN: Award-winning Viral Fan Short Tests 8K RED Workflow

Along with the elite Delta Force team, the title character in the viral short film MEGAN investigates a mysterious attack in downtown Los Angeles after deep-sea drilling has unleashed the unknown. Achieving viral status online and film festival wins around the world, the 7-minute short is the latest in a growing trend where emerging filmmakers are impressing studios with proof-of-concepts that demonstrate an ability to stretch technology in a creative way. Shooting with the RED DSMC2 camera and HELIUM 8K sensor, the filmmakers used innovative approaches to VFX and workflow, including large LCD screens instead of greenscreen. The combination of the filmmakers' enthusiasm and exceptional chops caught the attention of major players on the Hollywood production and post scene, combining to create an inspirational reminder of just how much is possible when passion meets focus to spark creativity.


Christine Bunish
RED Camera
VFX LEGION: FX ON SCANDAL & HOW TO GET AWAY WITH MURDER

VFX LEGION: FX ON SCANDAL & HOW TO GET AWAY WITH MURDER

Shot in LA and set in D.C. and Philly, Scandal & How To Get Away With Murder’s stories unfold in virtual environments that seamlessly blend with live-action footage, defying the viewer’s eye. Here Is some of how it is done using Shotgun, Redshift, The Foundry’s NUKE, Media Shuttle, et al.


Sherri Golden
RED Camera
Mercedes-Benz and Friends Make 360-Degree Stadium Halo Board

Mercedes-Benz and Friends Make 360-Degree Stadium Halo Board

A visit to the Atlanta Falcon games at the Mercedes-Benz Stadium this past football season provided an unexpected treat: the world’s largest 360-degree cylindrical LED video screen at a sports venue. At 58-feet tall, the screen, dubbed the “Halo Board” because it surrounds the inner stadium, can display 20K resolution and gives a new meaning to the term “immersive video.” The campaign was made possible through a partnership between creative companies The-Artery, The Astronauts Guild, and VR Playhouse, along with the latest technologies from RED Digital Cinema and Radiant Images.


Debra Kaufman
RED Camera
RED IPP2: Real-World Looks At An Image Processing Revolution

RED IPP2: Real-World Looks At An Image Processing Revolution

Science is one thing, the real world is another, and yet beautiful things can happen when the two interact with each other. Our conversation begins with RED Digital Cinema's Graeme Nattress explaining the ways that RED's customers are shaping the company's new approaches to color science, as reflected in RED's new image processing pipeline, IPP2. From there, filmmakers Chris McKechnie and David Battistella get specific about how RED IPP2 has revolutionized their RED workflows, both in the field and in post. No hype here. Just the facts, plus some very pretty pictures, and, okay, more than a little bit of excitement in the lab, in the field, and in the edit suite.

Feature
Christine Bunish
RED Camera
Guardians of the Galaxy Vol 2: Behind the Scenes with RED

Guardians of the Galaxy Vol 2: Behind the Scenes with RED

Anticipation for Guardians of the Galaxy Vol. 2 was already heated up when director James Gunn announced that it was to be the first feature film captured with the RED WEAPON camera using an 8K RED DRAGON VV sensor. In this marvelous behind the scenes featurette courtesy RED Digital Cinema, James discusses the decision to use the RED WEAPON, and how it played out with director of photography Henry Braham, BSC. Both of them found the combination of the massive sensor and small form factor incredibly compelling, providing them the technology to capture the epic scale of the action, in a package small enough to allow them to get exceptionally close to the scenes of genuine intimacy that are this series' secret weapon. (See what we did there?)

Editorial, Feature
Tim Wilson
RED Camera
Don Burgess aligns with Light Iron and Panavision for ALLIED

Don Burgess aligns with Light Iron and Panavision for ALLIED

Don Burgess, ASC trusts Light Iron. His last seven films can attest, so Burgess chose Light Iron to support him again with digital dailies and post finishing services on Allied. Directed by Robert Zemeckis and starring Brad Pitt and Marion Cotillard, the World War II-set film sees an intelligence officer's romance with a French Resistance fighter tested when high command thinks a double agent might be in play.

Editorial, Feature, People / Interview, Business, Project
COW News
RED Camera
Reproducing Rainbows: Color in the Digital Environment

Reproducing Rainbows: Color in the Digital Environment

As digital photography and cinematography reach further into the digital media landscape, and your captured images can be viewed on a vast range of media, the need for standardizing color has become more invaluable than ever. Imagine trying to get a consistent hue of green or blue or teal across multiple platforms. So, it becomes easy to understand why it's important to have a color reference chart for each new scenes' lighting conditions. All of the formats carry specific gamma and color spaces to reproduce color. The chart is the point of agreement. In this review, David Battistella reviews the RED Cambook from DSC Labs, which readily addresses these concerns. Read on for David's findings...

Editorial
David Battistella
RED Camera
Exposing the RED MX

Exposing the RED MX

David Battistella looks at the RED camera, an offering from a company that have now delivered over 7000 cameras to customers worldwide. David examines exposure techniques for the MX sensor and gives us an upgraded review and updated vision of the best exposure practices. Read on for the details of this highly informative product review...

Review
David Battistella
RED Camera
Exposing the RED: Perfect Exposure, Every Time

Exposing the RED: Perfect Exposure, Every Time

Director DP, REDtrepreneur, early adopter and obsessed student of the RED camera system David Battistella takes a closer look at how to hit the sweet spot on the RED sensor. David shows how understanding REDs inner workings will help you expose your scene just right, every time.

Feature
David Battistella
RED Camera
Under the Gun with RED One

Under the Gun with RED One

Dylan Reeve and a small team of New Zealand filmmakers had 48 hours to get their assignment, write a script, direct, shoot and post their film, then hand in the finished show...oh yeah, and refine their RED shooting and editing skills under the gun while trying to beat out 230 other teams! Sound wild? You have no idea....

Feature
Dylan Reeve
MORE
© 2019 CreativeCOW.net All Rights Reserved
[TOP]