REDucation: Curriculum

Dates/Location Curriculum Registration Instructors What people are saying Hotels	CURRICULUM It is important to note that REDucation is the RED approved and sanctioned education for learning RED. While the popularity of the camera and the 1000's of RED jobs and massive industry adoption of the RED have created a lot of entities teaching RED in some fashion - none have been authorized by RED as the best practices that we believe should be taught. REDucation is what RED believes is the best way to learn the RED camera and RED post production techniques.
	RED Tech Theory & Philosophy of RED – The concept of digital film and RAW Cinematography The Future of RED – A peek into the Crystal Ball - EPIC, SCARLET, REDRAY, and more RED Myths – Dispelling rumors, innuendos, misinformation and FUD Common On Set Scenarios – How to work most effectively with this new tool The RED ONE Camera – Menus, Frame Rates, Resolution, overview of how to best learn and use the tool The RED ONE production packages – Setups for various shooting styles and production scenarios Shooting assignments – Testing various lighting setups, exposure situations, and rigging styles The RED Lab – Exposure measuring tools, on-set grading & file backup, and prep options Monitors – Calibration and setup procedures, philosophy of RED on set monitoring Software – REDCINE, RED ALERT!, REDrushes & 3rd Party software REDiquette – On-set procedures and politics, dealing with tricky situations and various personalities Data Management – Options and best practices for protecting and managing the digital negative RED Tech kit review and setup – use of the data-wrangling tools Data management during prep – Various testing methods and benefits Testing with the DP and the assistants – Getting comfortable with each job and its nuances Data management during photography – How to tech the data efficiently and effectively Hardware and software solutions for on set work – What makes sense for various types of productions On-set footage and color checks - File requirements for post production Data Management Lab – Who’s Responsible and various options Camera-to-Posthouse workflows – Options and recommended practices Storage and backups – How many, how often, and where do they go On-set editing and dailies – The modern video assist and file prep station
	RED Post RED Post logic points and theory – The pros and cons of many flexible workflows Overview of Workflow Solutions Small – Kitchen table, Do it Yourself Medium – Indy, Commercial, Do it yourself or Outsource Large – Feature, Episodic, Do it yourself or Outsource The RED lab – Receiving data from the field Backing up data – Data and error checking and best practices Quality control checks and feedback to set – Informing the set of problems or concerns RED Proxies – What are proxies and the various ways to use them RED Myths – Dispelling rumors, misinformation and wild information Preventing problems before they get to the post stage Archiving data – On-set, very short term, short term, long term, very long term Dailies – pictures and sound, and the various modern and traditional methods for creating RED dailies Editorial Workflow – Yesterday’s offline is today’s online Delivering cut scene outputs and elements to directors and producers Working with directors, post producers, and post supervisors Politics in post production – Specific to RED and the modern state of the industry Software options – Offline and online editing, DI and finishing RED specific post utilities and the best practice uses – REDCINE, RED Alert!, RED Rushes & 3rd Party software VFX Handling – How to manage and optimize the pipeline Color Space and LUTs for Post Production deliverables Deliverables – Traditional 35mm, and DCP, large format film and digital, broadcast HD and SD, DVD & Blu-Ray, mobile devices, web delivery

REDucation, RED Digital Cinema, RED ONE, MYSTERIUM, REDCODE, REDspace, RED EPIC, SCARLET 3K, MONSTRO, REDFLASH, RED-RAM, RED-RAID,
RED-DRIVE, RED-CAGE, RED-RAIL, REDCINE, RED QUICK, RED Alert! and RED-GUN are trademarks of the RED Digital Cinema Camera Company.