October 5th, 2013: RED EPIC and RED One camera intensive hands on demo and post workflow workshop



Date/Time: October 5th, 2013 from 9:30AM to 5:30PM.

Location: FACETMEDIA Studio. 5821 Rodman Street, Hollywood, FL. 33023.

Price is $100 per person. RSVP to attend here: http://www.meetup.com/Digital-Cinema/events/136598752/


1. How to Build a RED EPIC and RED One CAMERA

2. HANDS-ON PRACTICE: Build Your Own RED EPIC and RED One Camera, HDRx, a New Way to Expose the Film

3. RED Storage media, transfer times and DIT (Digital Image Technician) purpose/gear/software that’s needed.

DITs Demystified: The Transformative Role of Digital Imaging Technicians on Set
http://www.studiodaily.com/store/webinars/dits-demystified-the-transformative-role-of-digital-imaging-technicians-on-set.html  <— Great presentation video that explains the role of the DIT and how he works with a Director of Photography to attain the best possible images. You will have to register to view the video.

4. How to expose a scene properly with the RED Epic and RED One camera


6. Post Workflow: Ingest RED footage, transcoding in REDCine-X, conforming for color grading

– And many more…

Refreshments will be on hand. Breakfast and lunch served.

If you don’t use Paypal please contact me for other payment options.


Andrae Palmer
email: andrae at facetmedia dot com
(954) 593-0411



8 thoughts on “October 5th, 2013: RED EPIC and RED One camera intensive hands on demo and post workflow workshop”

  1. Hi Sara, Andrae Palmer who is the Digital Cinema meetup group founder and primary instructor, RED One and RED EPIC owner operator since 2007 and founder of FACETMEDIA Studio. email: andrae at facetmedia dot com for more info on the workshop.

  2. oh cool I have been looking for a real cinematographer to teach me exposure on the RED camera can you post some links so I can see some of the videos you have shot I cant seem to find any.

  3. All the videos that I’ve worked on in the studio and out of the studio… are posted right here on our company blog and can be viewed directly. Here’s also a few more:

    1. Daryela and Timbaland ” Lose Control” music video: https://vimeo.com/51272107

    2. 1st AC/DIT/Colorist “Exposed” commercial:

    3. Anthony Bless “Your Lover” music video:

    Send me an email and I’ll link you to my DIT, Colorist, 1st AC, 2nd AC work. email: andrae at facetmedia dot com

  4. I was more hoping for videos you have actually shot because your teaching things like exposure do have any of those videos. I’m more interested in your exposure lesson not the DIT part thats what drew me to your class.

  5. Glad you asked that question. A primary role of Digital Image Technician is to monitor exposure and assist the Cinematographer/Director of Photography in achieving their desired look. This is achieved through things like back calibrating the sensor of the camera, monitoring RGB histogram, recommending correct ISO settings and compression ratios, monitoring the footage for correct exposure:

    The DIT’s job is to work with the cinematographer and help achieve the best results. This includes but is not limited to: monitoring exposure, setting up “look up tables” (LUTs), set camera settings, and media management.


    All these topics will be covered in tomorrows workshop. You’ve come to the right place if you want to learn how to expose a RED EPIC and RED One camera properly with the correct camera settings.

  6. dont really trust wiki that much, but I find it hard to believe that the cinematographer would be going to the DIT for confirmation on his exposure rather then his light meters, eye or his gaffer I’m pretty sure the DIT is usually in the corner and not directly collaborating with the cinematographer. Well let me know if you have a cinematographer in your classes who’s done some work Id really love to learn how to light scenes with that camera rather then Recommendations on ISO settings more interested in the actual lighting you know.

    thank you

    • 1. UCLA education course… The Role of the Digital Imaging Technician in Cinematography:

    With the prevalence of HD, 4K, and digital cinema technology, the position of digital imaging technician (DIT) has become crucial in helping the director of photography achieve and maintain the desired look of the picture. There are growing entry-level opportunities in this field, and the DIT is becoming a vital part of the camera department for all types of productions. The DIT works in collaboration with a cinematographer on workflow, color management, LUTs, metadata, dailies generation and many other on-set tasks. This course sets out to cover the various capacities of the DIT on the set and how choices made by the cinematographer with a DIT can help maintain the quality of the image throughout post-production.


      2. What is a Digital Imaging Technician – Interview with a DIT:


    A DIT is essentially the liaison between production and post production. I typically work with digital cinema cameras and support the camera department, helping the first camera assistant and the director of photography get the most out of the camera. This includes helping set exposure, knowing the optimal ISO settings for the camera, getting the most dynamic range the camera can offer and making sure that you’re not clipping, losing any information.

    Practical – Quality Control: Procedures for analysing the technical quality of a shot – exposure, focus, noise, colour rendition, camera settings. Writing QC documents.

      4. ARRI Digital Camera Forum: DIT’s work on set


    An Imaging Technician is just that. He monitors the aspects of the image, creates LUT’s, manages the proper workflow of the camera system. Prepares the correct images for post production, and for dailies.
    A DIT works very closely with the DP to accomplish the goal of the project, and offers suggestions and insight on how the image will respond to certain lighting conditions, vs. how film would respond.
    He offers tech advice as to what color and gamma idiosyncrasies exist within the conditions of the location.
    If done properly, your DIT will design the workflow of the show he is prepping according to what budget, and restrictions might exist.

    He also tech’s the camera and knows it inside out.
    He knows what to do when the camera suddenly loses its firmware after powering down incorrectly.
    or Knows what to do when a new firmware has a bug and you can’t sync timecode.
    Or how about when know one else on set knows why, but the camera suddenly starts wanting to write the same roll numbers it already used which will pose a Huge problem in Post production.
    Or the fan freezes and the camera overheats, or you had a damaged media card and need to either restore it or somehow retrieve the lost information…….

    a DIT is an expert.
    for the 5% of projects that can utilize the alexa’s ability to drop into a FCP timeline and edit, more power to you.
    I love the idea of it.
    But I have seen too many “Simple” projects, that were completely changed and/or saved by the DIT.

    my 2c

      5. International Cinematographers Guild Selects AbelCine to Create DIT Workshops:

    The class is designed to give attendees a solid grounding in exposure theory and color science, as well as a practical understanding of the tools used by a DIT on set.


      6. International Colorist Academy: A DIT tells all

    The job of a DIT is on the move. In years past, a DIT was a camera engineer (managed the cameras) and color timer (set looks). Today, we perform a host of pre-post tasks: such as manage and backup of on-set data, QC footage for problems, assist the DP with exposure settings, make exposure correction, develop looks with the DP that will be applied to dailies, creation of dailies for computer, iPad/iPhone and cloud delivery, perform primary color grading — and even troubleshoot the camera when necessary.


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