RED with 5D Footage

[perfectday]

Ok...so I shot an event on the RED ONE and the 5D Mark II (was on steadicam). My normal RED workflow is to ingest via log/transfer to prores LT and work offline, reconform, and color, master out 2k file from Color via prores 4444 for blu-ray authoring. Also master a full 4k quicktime as well.

So my question is, what is the best way to go about incorporating the 5D footage? Directly on the 2k RED timeline? I'm at a loss here. I normally ingest my 5D footage to prores 422, as HQ isn't needed. When I send the sequence to color after reconforming, will it work properly in color with the r3d files?

Any suggestions/help would be greatly appreciated!

Ohh, and I have tried to change my username to my real name, still waiting for that to happen. :-(

 

[David Battistella]

I'm going to make a joke.

You should cut the 5D footage with iMovie.

hahahahaha.


Now.

Transcode the 5D to Prores 422 and create the RED footage at the same resolution as the 5D.

Edit.

David

 

[perfectday]

Yea, but I would love to access the R3D files during color to have more control. So can I ingest to prores LT, then when I reconform, it will relink the RED files, but what will it do with the 5D stuff? Can I choose to just not relink that? I'd love to have a 2k quicktime movie end result.

 

[David Battistella]

For 2k you have to blowup the 5D footage.

Workflows are compliated thing and also user specific.

I use the clipfinder workflow outlined here:

http://reduser.net/forum/showpost.php?p=480612&postcount=1

But for what you are describing (which includdes upconverting a 5D format) In my opinion a bad idea.

Finish 1080P and render out 1080P from your color project.

I never use L&T so I can not help you there.

David

 

[perfectday]

Anyone else use L&T? Is Clipfinder the better way to go?

 

[Uli Plank]

Clipfinder is faster on a modern machine, using all cores to the max.

Just like MB Grinder instead of L&T for 5D files…

 

[Michael Dwass]

I would L and T Red files to native and Canon files to 422HQ. Conform to a 1920x1080 sequence. When you send this to Color it will give you access to Red raw adjustments and you will not be blowing up Canon footage unnecessarily.
Michael

 

[perfectday]

Yea, I figured L&T would just be easier. So, when I send to color, how will it know to relink the R3D files in color since the 5D footage won't need relinking?

Also, is the 5D footage to Pro-Res HQ really necessary? I heard that the 5D footage has no quality increase from regular ProRes to ProRes HQ.

Help has been greatly appreciated!

 

[Uli Plank]

No, ProRes 422 should be fine for 5D footage.

 

[perfectday]

So what should my settings be then for the 1080 sequence?

 

[Uli Plank]

For 5D: ProRes 422, 1920 by 1080 square pix, progressive, the fps you shot. Did I forget anything? Would be great if you've shot the RED at Quad HD.

 

[perfectday]

Ok, so does this workflow work?

Ingest via Log & Transfer to ProRes LT. Edit, then reconform via Clipfinder 2.2, send back to FC, then send to color to access the R3D files. Output to 1920x1080 so 5D footage isnt scaled.

 

[Uli Plank]

You need to try, I never offlined with mixed footage and Clipfinder, always went online right from the start.

 

[perfectday]

Ok, so I'm going to L&T the RED footage to Native, and the 5D Footage to ProRes Regular. I'll conform my sequence within FC to 1920x1080 24p. What would be my next step to access the native R3D files in Color?