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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

is rocket needed?

C

christina parisi

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Hi!

I joined this group not long ago and found it incredibly helpful! I am a filmmaker in LA working on my next short and for the first time, my DP will be shooting with the RED one. I am also the editor, using my iMac 2.4 GHz Intel Core 2 Duo and FCP 6. (should I upgrade to 7??) I will have a AC/DIT on set to help with the files but I'm curious... will I be able to take the external drives from my assist (4kHD RED files) and use REDCINE-X to transcode them into ProRes for FCP 6 editing? Do I need a ROCKET card for this?

Also, if I want to finish with 1080p HD for DVDs for festival submission, will I need to use compression or some program to do so?

Sorry for the questions if they are repetitive or newbie. Just trying to get a grasp around the RED workflow and would appreciate any help one can give :)

Thanks!!

Christina
 
You won't *NEED* a Rocket, but depending on how much footage you have you might end up *wanting* one. Transcoding's not a fast process without it.

As far as FCP and ProRes transcodes go, if you're planning on going that route you won't need to upgrade to FCP7. If you want to edit 'native' using the camera proxies you'll want the latest FCP, as the current RED plugin isn't compatible with FCP6.
 
ah... interesting. thanks for the reply, Ben, I appreciate it!

it's a short film, one day shoot, so there won't be too much footage to deal with. may i ask what your thought is regarding ProRes transcodes and what you suggest as final product if one is looking for dvds and festival screenings?

thanks!
 
If you are only using Final Cut 6, I would transcode to ProRes 422 HQ using REDCINE-X and edit from those. You can do your initial transcode with a lower debayer setting - like 1/4 or 1/8 - to speed up the process, then when you are finished your cut re-transcode just the footage used in your edit at full quality debayer. If you move up to Final Cut 7, you could save hard drive space by initially transcoding to ProRes Proxy for the edit, then transcode your full quality footage to ProRes 4444. Render out a ProRes 4444 as a best-quality master, and make all of your other deliverables, such as DVDs and any tapes that festivals may want, from there.
 
Depending on how you are colorcorrecting... but if you're going Color, you should do an A/B test with "nice looking footage" and RedLogFilm/Redcolor 2 as the base for the grade. If it is really short... you could consider going DPX with those settings, too.

You might find this helpful:
http://www.gunleik.com/tests/tungbrack

Cheers

Gunleik
 
So Gunleik, if I was going to Color, do you think transcoding to ProRes 422 HQ using REDCINE-X would not be a good idea?

Thanks for the help, and the link!!

Christina
 
I would definitely have gone 444/redlogFilm for online and maybe a lower rez prores (non-hq) for offline. Conform could be done with Clipfinder the easiest/cheapest:
http://www.daun.ch/hamingja/

OR you could do a re-connect from FCP/reset sequencesettings to the right dimention and then a send to color.

Whatever route you choose, I would strongly advise you to do a short test (4/5 clips) first and get comfortable with the workflow...

Cheers

Gunleik
 
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