Best way for working offline/online?

[solvsuper]

I edit my RED files in Prores SQ 1024x576 when doing offline. Online is done in Prores 4444 1920x1080. All files transcoded with Monkey Extract.
I´ve tried different ways to convert the project in FCP from lowres to highres, and I´m now using XML. I choose 1920x1080 as sequence settings when importing the XML, but I then have to reconnect with the online files, remove filters from the offline etc. I also have to create a new project before importing to avoid reconnecting with online files in the offline timeline too.

Is there a easier way to do this?

 

[Tom.Wong]

http://www.esperimentocinema.com/journal/2009/11/3/my-45k-hd-fcs-3-workflow.html

instead of sending the r3ds back as xml, you can send re-encode them full debayer, then use clipfinder to reconnect to those MOVS, reconform the XML. send to fcp, all should be there.

 

[joe hedge]

An easier way would be to edit in your output codec, and skip the offline part. A Red Rocket card will crank out full-res debayers, in real time if you have the bandwidth, in any flavor of ProRes you like.

 

[Tom.Wong]

easier but not always practical for a lot of people. a rocket card cost as much as a mac pro tower, full debayer encoding, is time consuming if you have a tight turn around, eats up more HD space, and requires more render time in the edit for real time effects and layers. Offlining was created for these reasons.

 

[joe hedge]

easier but not always practical for a lot of people. a rocket card cost as much as a mac pro tower, full debayer encoding, is time consuming if you have a tight turn around, eats up more HD space, and requires more render time in the edit for real time effects and layers. Offlining was created for these reasons.

Agree with everything except the part about full-res debayer transcodes using more drive space and requiring more render time for effects - full-res debayers are not bigger file size/bit rate than 1/2 or 1/4 res, they just take longer to make.

 

[Rick Turners]

I believe the most "professional" workflow would be getting back to the R3D's for online/color.

Working with Prores when you have an excellent raw image to manipulate seems weird..