I was Set-Assistant on this film “Coffee To Run” last year. It was shot in Övelgönne on a beach and we had to build up the dolly tracks in the wet sand. The food was good though 
They’re trying to finance a 90 Min feature film. Hope that works out
Shooting on red again. I definitely like red footage. At the moment I’m also grading a film that was shot on the red one camera and have finally found a good conforming workflow with the DaVinci Resolve color grading program.
When editing always look out for tapenames and timecode! If they get lost things can get tricky. Resolve has a good tape name recognizer though. For example you can get the tape name from the folder or somewhere in the filename etc. But it makes it easier if its already in the AVID metadata.
In this case I imported the red files I needed, got resolve to get the tapenames from the red-metadata, imported other footage from 3 colour and 1 b/w 16mm filmrolls, imported additional scans from still b/w pictures and got an AAF file from AVID MC6 that recognized most material. After that compared everything in the timeline with an uncompressed videomixdown. Actually, there were some issues with freeze frames and some effects couldn’t be imported, so I had to deal with them seperately, but I had the video mixdown as a reference so all in all it worked out fine.
I also tried going out of avid with the CMX3600 EDLs but had better/quicker results with aaf. I think this was due to the fact that EDLs only uses 8 letters for the tapename which isn’t enough for the red clips:
A028_C003_0529NW
A028_C003_0529NW_001.R3D
The cool thing about resolve is, you can use the raw material from the red camera. Then you might want to set it to a film-logarithmic setting for example that will give you all the brightness information you need for colour grading.
And after a quick grading node…
