Learn RAW Workflows
Color Correction Vs. Color Grading January 11 2016
When you shoot raw or "flat" (or log) you have to color correct and grade your footage. Is there a difference between the two? Yes, and we're glad the folks at Rocket Jump point this out in the video below.
This is not an in-depth tutorial on grading, however, it's simply a good primer on the general difference between the two and how to get started polishing footage that was shot raw or flat.
To our knowledge we are the only studio in the footage market that offers select shots in raw or flat varieties. Btw, if you need info on why to shoot this way please read this.
NOTE: WE DID NOT PRODUCED THIS TUTORIAL. WE ARE SHARING IT FROM A PUBLIC YOUTUBE CHANNEL. ALL TRADEMARKS, PRODUCT NAMES, AND COMPANY NAMES OR LOGOS USED OR APPEARING ON THE CINEMOTI WEBSITE ARE THE PROPERTY OF THEIR RESPECTIVE OWNERS. REFERENCE TO ANY PRODUCTS, SERVICES, OR OTHER INFORMATION, BY TRADE NAME, TRADEMARK, MANUFACTURER, SUPPLIER OR OTHERWISE DOES NOT CONSTITUTE OR IMPLY ENDORSEMENT, SPONSORSHIP OR RECOMMENDATION THEREOF BY CINEMOTI, UNLESS EXPRESSLY STATED.
CineMoti Essentials: Using REDCINE-X PRO November 21 2015
A lot of our 2nd Unit™ footage is shot on RED® cameras and so knowing how to work with RED RAW .R3D files is important. There are many ways to do this today with almost every NLE and compositing software (i.e. Premiere, FCP X, After Effects, etc.) having the ability to edit RED files natively (albeit slowly on many).
However, using RED's own software REDCINE-X PRO to transcode for ProRes proxy editing (especially on long format work like movies), create dailies, color grade or even edit/trim is a good way to go too - and has several advantages over other methods (for example, robust playback of 6K, 5K and 4K, built-in color correction tools and trimming and re-exporting new RED .R3D files).
So whether you're brand new to RED workflows or are looking for a refresher this is a good introductory video to check out.
Read additional info about our raw (and/or log) options in our FAQ.
And browse our RED RAW footage selection here.
What is a Colorist? September 03 2014
Unique to the stock footage industry - CineMoti offers a selection of our footage in either Flat, Log or RAW varieties - which all require differing levels of color grading.
If you're an experienced filmmaker you likely understand and have probably done color grading on a project, but for those that don't know what it is or would like to know more about the process and/or techniques of it, we think you'll enjoy this video:
Note: We did not produced this video. We are sharing it from a public Vimeo channel. All trademarks, product names, and company names or logos used or appearing on the CineMoti website are the property of their respective owners. Reference to any products, services, or other information, by trade name, trademark, manufacturer, supplier or otherwise does not constitute or imply endorsement, sponsorship or recommendation thereof by CineMoti, unless expressly stated.
Working with RED Footage in PPro and AE August 23 2014
There are lots of different ways to work with RED footage - from their standalone REDCine-X Pro app, to Davinci Resolve or your favorite NLE.
Here's a video from Neumann Films on working with RED 4K within Adobe Premiere Pro and After Effects. Note though, this tutorial was created using an older version of the Adobe software, however the general techniques can still apply to the latest CC versions as well (however, it's easier to work with RED in the latest software). Also note, the first 3 minutes discuss loading a needed plugin if you're working in CS5.5, but if you're using CS6 or newer you can skip to 3:08 to watch the actual tutorial.