Red Rushes settings

[skim08]

Can anyone help me figure out if I have the right settings in RED Rushes? Thanks for your insights!

- Doing transcode tests on 4K, 2:1 footage.
- Plan to edit and finish to 2K ProRes (HQ).
- If finishing funding, will online back to R3D.
- DP tells me it was shot at REC 709.

Do these seem like the right settings?:

Debayer: Half Res (High)
Timecode: External / TOD ---- (we will eventually sync to audio transferred from DAT that has timecode; want flexibility to online back to R3D)
Look Source: Camera
Color Space: REC 709
Gamma Space: REC 709

What exactly is "Look Source" ?

Thanks so much for any help!

 

[Uli Plank]

Your transcode looks fine. With very critical footage (noise or very fine texture) you may gain a tad with a full debayer, but normally it's not worth the extreme rendering times (about 1:5 compared to your settings).

But you may want to do some first-light corrections in RA. In that case you'd make the clip RSX your look source instead of the camera. You can even apply the corrections (the RSX) from one clip to a whole batch, but in that case you loose the possibility to use in- and out-points.

 

[skim08]

Red Rushes settings - 4K R3D and finish to 2K ProRes

Red Rushes settings - 4K R3D and finish to 2K ProRes

Thanks so much for your response! I really appreciate it.

I guess I'm still a little confused about workflow and how RED works...

If the goal is to get an image to ProRes that will give us maximum latitude to color correct later (on the ProRes) - Do we compromise this latitude at all by doing a first light in RA?

Is it correct that the R3D file is our most raw "sensor" image? Wouldn't transcoding directly from R3D - as is, without 1-light in RA - give us the most "raw" image (the image closest to what the DP had intended)?

or is a transcoding from R3D as arbitrary as a one-light film work print...?

probably there's something I'm missing here...

Again, thanks so much for any insights.
susan