How About a Workflow

[Gopher77]

Now that Jared has provided a subforum, how about an Adobe workflow for "dummies" I've been a shooter in my short career and never shot anything over HD resolution. So I have never worked with a DI and haven't edited a whole lot of HD either. I own Primere 6.5, but have never really used it and I don't know After Effects. As a novice editor looking into the 4K world, and not a MAC user, Adobe looks like the best solution. So David, if you and some of the other gurus wouldn't mind explaining the possible workflows I'd sure appreciate it.

So here's what I'm wondering more precisely.

1. I shoot Recode RAW. So I have footage on a variety of mediums, but basically either on CF cards or HDD. So with the card I need a card reader, the HDD I can just plug in and my files are there?

2. I don't reall know "offline" vs "online" work flow, so here is where things get fuzzy for me. I process through redcine to get whatever resolution I want? so I can convert the footage to anything from HD - 4K correct? IS this just converting a copy so I still have the 4K "digital negative"?

3. So if this is an offline workflow, I'd bring an HD working copy into Premiere, cut and export an EDL?

4. Take EDL back to redcine and export the 4K footage cut?

5. Do I have to reassemable the 4K footage in Premiere or do I go to After effects for CC?

6. Once color corrected and visual effects are added does it go back to premiere for sound editing?

7. Now if I have the edtied and corrected 4K footage, I can export a Digital Master in 4K, or output the footage to create a DVD? What format do I export the 4K in. Is there a prgram that can take 4K footage for DVD creation or do I have another conform step here?

OK so now how would cineform fit into this? Why do I need a DI if my aquisition is digital, is it to export to film? What would an "online" workflow be? How much computing power and other hardware is going to be reuiqred. For instance do I need a wavefore monitor and vector scope in my output chain?

TIA,
G

[Kevin Halverson]

Now that Jared has provided a subforum, how about an Adobe workflow for "dummies" I've been a shooter in my short career and never shot anything over HD resolution. So I have never worked with a DI and haven't edited a whole lot of HD either. I own Primere 6.5, but have never really used it and I don't know After Effects. As a novice editor looking into the 4K world, and not a MAC user, Adobe looks like the best solution. So David, if you and some of the other gurus wouldn't mind explaining the possible workflows I'd sure appreciate it.

First off, I am really glad to see that the Adobe section is getting some interest. I'll try to tackle some of your questions.

Second, you need to get something much more current than 6.5. I would suggest Premiere Pro 2.0 as a minimum, but really CS3 is what you want.

So here's what I'm wondering more precisely.

1. I shoot Recode RAW. So I have footage on a variety of mediums, but basically either on CF cards or HDD. So with the card I need a card reader, the HDD I can just plug in and my files are there?

If you are going to be using CF media, then yes, you will need a reader. HDD storage devices can be mounted directly on your NLE, but I would certainly recommend that you archive your footage elsewhere before you bring it into your editorial workflow.

2. I don't reall know "offline" vs "online" work flow, so here is where things get fuzzy for me. I process through redcine to get whatever resolution I want? so I can convert the footage to anything from HD - 4K correct? IS this just converting a copy so I still have the 4K "digital negative"?

You should always retain the camera original files which in the case of the RED are .r3d files. REDCINE is the tool you will likely use to get the footage into a form that your NLE can work with. There are a number of choices here and the most appropriate one will depend upon how you intend to finish your project.

3. So if this is an offline workflow, I'd bring an HD working copy into Premiere, cut and export an EDL?

Your proxy data (assuming an offline process) doesn't even have to be HD quality. All that is essential is that it uses a timebase that is identical to your finishing format. So, likely 480p or better would work just fine for this type of workflow.

4. Take EDL back to redcine and export the 4K footage cut?

That is how we all hope REDCINE will work, but until its officially released, this isn't confirmed (but is what I fully expect to be the correct path).

5. Do I have to reassemable the 4K footage in Premiere or do I go to After effects for CC?

You 'could' go back to Premiere, but really, AE is the correct choice if you want to handle 4k footage with deeper than 8 bit color support.

6. Once color corrected and visual effects are added does it go back to premiere for sound editing?

Actually, you can edit your final sound while you are still editing your proxy in Premiere. Audio is not much of a burden to modern machines working with Premiere. You could always export out to Audition (from within Premiere) if you need more sophisticated tools. The good news is that Premiere will handle and generate your final audio easily. All that is needed for finishing is to point to your already finished audio. Couldn't be simpler.

7. Now if I have the edtied and corrected 4K footage, I can export a Digital Master in 4K, or output the footage to create a DVD? What format do I export the 4K in. Is there a prgram that can take 4K footage for DVD creation or do I have another conform step here?

Assuming that you are speaking of a playable DVD (either BRD or HD) then 1080p is the upper finishing limit for now. Luckily, Premiere handles creation of simple BRD DVDs from within. For more sophisticated menuing structures and spacial features, you just bounce over to Encore. Again, its pretty straight forward. This is one of the great aspects of the new CS3 suite.

OK so now how would cineform fit into this? Why do I need a DI if my aquisition is digital, is it to export to film? What would an "online" workflow be? How much computing power and other hardware is going to be reuiqred. For instance do I need a wavefore monitor and vector scope in my output chain?

The term DI is really abused and your question is a clear example of this. DI or Digital Intermediate is intended for film acquired and film finished projects that spend the editorial portion of their life in the digital domain. You seem to not quite understand the online versus offline concepts, so rather than try to answer your question, it would be easier if I understood what you want to accomplish in the end. Knowing this first makes everything so much easier.

Otherwise, great post.

Kevin Halverson