BEST TRANSCODE SOLUTION FOR FINAL CUT PRO

[Mark Toia]

Looks like there is a bit more saturation from the start with Redcolor 2. Mark, what do you see as the benefit of starting with cameraRGB rather than Redcolor 2?

Over the last 48 hours I've been doing many many tests now doing side by side with both CAMERA RGB and REDCOLOR 2 exports. (both pushed through) REDLOGFILM.
For some reason, I'm finding CAMERA RGB nicer and faster to grade with.. but not saying it's correct.
REDCOLOR2 does seem to carry more saturation and RED (Greame) has said that REDCOLOR2 has cleaner chip information. (not that I can tell but I'm not going to doubt Graeme as he's alot smarter than me,
I say use what ever suits your needs. Both are great even though my preference is CAMERA RGB for now. But that may change after all my test.

The biggest winner for me is REDLOGFILM...

 

[Mark Toia]

I remember being helped by a thread called Proxie Editing & ONLINE and waaay back there was Big T's Red Alert Heaven.
Now this one ... thanks once again Mark

Oh yes , the old Proxie days. I remember then. And man I got some great stuff out of those proxies until REDSPACE came along and killed the flat PROXIE.

and thanks J. I have more coming.
I'm only going to be sharing the fast, best way of doing things. Not the slow expensive way.

 

[Shane Betts]

Mark, you totally rock, as usual.

Might I point out here that Mark's technique is based on transcoding the ProRes straight out of the gate and going all the way to finish with those very files. In other words, the ProRes Mark makes right after wrapping the shoot (or, as far as I know, on-set) then become the default "neg". As has been said, pretty hard to argue with the results.

We're working on features here and we have built our pipeline on the premise of never being more than a single generation away from the R3d's. June promises us Resolve 8.0 and FCP-X - and I think these two tools can give us a truly great big screen pipeline. Out of camera - make 1080 ProRes/DNxHD for editorial. At picture lockoff, open XML in Resolve, relink to R3d's - grade and render out to 4k ProRes. Send XML to FCP-X, link to new hi-res, graded ProRes. Any shots that may need final tweaking to match can be sent back to Resolve via XML where they will link back to R3d's, with all the previous grade metadata intact. Tweak grade, render out new 4k ProRes. Back to FCP-X and your entire project is pristine, first gen ProRes (except, obviously, renders). Output to reference movie then to DCP via Qube. Beautiful!

Mark's point, as has been his point from about the moment he got his first R1, is these cameras are capable of making beautiful images - if you can let go of some out-of-date methodologies, understand they're not video cameras, keep it simple stupid and shoot. Some people seem to go to a hell of a lot of trouble to make Red footage look crap. Mark has a simple pipeline that makes for great images.

 

[Chris Kenny]

What are you talking about? How do you think ALL film DI had been done for the last 10 years? It's done with Log DPX scans...

Red cameras are also very commonly used in contexts where video cameras have traditionally been used, though, where workflows might be based around Rec. 709 uncompressed or Rec. 709 ProRes. I don't do much broadcast work, which is where I gather the worst of this tends to happen (we mostly work indie features these days), but I've even heard of cases where Red footage gets dumped to HDCAM tape and then recaptured from that tape before editorial, because some organization's entire workflow is based around tape in, tape out.

 

[Jake Bastian]

Over the last 48 hours I've been doing many many tests now doing side by side with both CAMERA RGB and REDCOLOR 2 exports. (both pushed through) REDLOGFILM.
For some reason, I'm finding CAMERA RGB nicer and faster to grade with.. but not saying it's correct.
REDCOLOR2 does seem to carry more saturation and RED (Greame) has said that REDCOLOR2 has cleaner chip information. (not that I can tell but I'm not going to doubt Graeme as he's alot smarter than me,
I say use what ever suits your needs. Both are great even though my preference is CAMERA RGB for now. But that may change after all my test.

The biggest winner for me is REDLOGFILM...

Wow! Thanks Mark, I honestly didn't expect you to take my inquiry so seriously I'm looking forward to hearing the results of your test.

 

[Ruff]

Would someone from Red please get Mark's Epics to him... his work is stunning, and he contributes so much.

 

[Mark Toia]

Mark, you totally rock, as usual.

Might I point out here that Mark's technique is based on transcoding the ProRes straight out of the gate and going all the way to finish with those very files. In other words, the ProRes Mark makes right after wrapping the shoot (or, as far as I know, on-set) then become the default "neg". As has been said, pretty hard to argue with the results.

We're working on features here and we have built our pipeline on the premise of never being more than a single generation away from the R3d's. June promises us Resolve 8.0 and FCP-X - and I think these two tools can give us a truly great big screen pipeline. Out of camera - make 1080 ProRes/DNxHD for editorial. At picture lockoff, open XML in Resolve, relink to R3d's - grade and render out to 4k ProRes. Send XML to FCP-X, link to new hi-res, graded ProRes. Any shots that may need final tweaking to match can be sent back to Resolve via XML where they will link back to R3d's, with all the previous grade metadata intact. Tweak grade, render out new 4k ProRes. Back to FCP-X and your entire project is pristine, first gen ProRes (except, obviously, renders). Output to reference movie then to DCP via Qube. Beautiful!

Mark's point, as has been his point from about the moment he got his first R1, is these cameras are capable of making beautiful images - if you can let go of some out-of-date methodologies, understand they're not video cameras, keep it simple stupid and shoot. Some people seem to go to a hell of a lot of trouble to make Red footage look crap. Mark has a simple pipeline that makes for great images.

Hi Shane,
Thanks for the nice words.

Regarding workflows.. I totally agree with your thinking.
I dare say when FCP-X hits town the world of RED will change over night. (I'm just hoping Apple and RED are still talking and R3D's drop directly into FCPX and convert on the run or work natively with FCPX. (one can only hope)
If the grading system on FCP is as good as I hope, I doubt Ill even go to resolve as much. Only If I have something really finessed to do. I usually grade most of my stuff in FCP (shock to many)

I'm glad they are not dropping PRO RES, as it well exceeds my requirements and if we get 4k @4444... weeeeeeelll that just be way to much for a lot of people anyway.
This year is going to be fun. Especially if and when (or ever) we all get our EPICS.

 

[Mark Toia]

Would someone from Red please get Mark's Epics to him... his work is stunning, and he contributes so much.

Ruff!.. I so hope people are listening to you... but sadly no.
Ive had strings pulled, ears spoken into, begged and groveled online and offline... but still I see people getting them that are just playing with them or renting them. ( i know because they have been calling me) (not you Mr Seymour, your a worker)

I think the problem is I'm not from the US and I don't go into RED to play, or a famous film maker.

Ill just wait for my EPICS "X"s Im over the "M" game now. People I know with "M"s still don't have batteries or red-motes and most of the features are still not turned on. At the end of the day, they are test mules I suppose...

I've decide now to just wait.

I'm more worried about SSD and batteries than the camera now, This will be RED's biggest pain. The supply of Drives and power... (o and Bomb Evf's)...
I've been told by many "M" owners now that the red volts only last 20 minutes or so. So you will need dozens of them for a normal shoot day charging in the background. And becuase your shooting 5k.. you will eat through data like butter. so more SSD's will be needed on set. or you will be backing up continuouslymto recycle your SSD's
So everyone should prepare themselves for the DATA , POWER problem that's coming.

I'm so hoping the EPIC program does not turn into the same RED ONE nightmare of waiting 12 months to get stuff. It will drive many people bonkers.
I'm just hoping that this Japaneese hold up gives RED the opportunity to store up big on all these things, so when we all finally get our EPIX (X) kits they come with everything at once.

If rumors are correct and ARRI brings out a camera this year shooting 4K PRORES 4444 LOG ... then I may even jump ship for a look.

If RED EPIC can spit our 4k PRO RES 4444 (REDLOGFILM) (without the need of a module) then Ill stay on board. (wink wink)
That would be the perfect camera!!!

At this moment, I'm just going to keep testing super fast work flows (and keep shooting around the world) but ready myself for the latest FCPX. Now that will be the high light of my year.