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Mike from HD for Indies with the Red One overlooking New York City

The Red camera is in the wild, and apparently the revolution wont be televised, it will be filmed, at 4096×2048 @ 24FPS. Here is a quick link roundup from the interwebs.

• FX Guides Red One launch coverage
• 4K stills and video from HD4NDS - with stuntcars!
• Extended 4K stills Gallery - HD4NDS
• 3D stereoscopic tapeless workflow at 4K with Red One - Studio Daily

I downloaded a few of the 4K still frames. They weigh in at 48MB uncompressed tiffs, and the result is astounding. Ive seen uncompressed HD and 2K on professional broadcast monitors and projectors, but I can’t imagine seeing this at native resolution in full motion. Lets let that last link sink in on you. I am insanely jealous.

Studio Daily has a sneak peek video of the new Magic Bullet Looks - a plugin for After Effects and other hosts, as well as a standalone application for applying ‘looks’ to footage. The Magic Bullet Looks workflow is quite innovative, and when you see it, you’ll probably have a ‘why didnt I think of that’ moment - see for yourself, I wont give it away. While not geared for visualists in any sense, its definitely a useful tool (as are almost all Magic Bullet plugins), but it got me thinking a bit about the standard metaphors for working with live video, effects chains, mixer buses and the like.

I really like the simplicity of Magic Bullet Looks. Im curious what innovative work flows could be made for working with live footage. Any suggestions or applications for mixing live that have given you pause for their workflow and interface?

Check out Magic Bullet Looks at Studio Daily