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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 :)

2K/4K Workflow In and Outs

J

jamesratnarajah

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Hi Guys,

I have been looking through the forums for answers to some questions that I have but have been unable to find specifics. So I thought it best to present my problem and my thoughts, as a springboard for discussion and correction.

I am a complete 2K/4K virgin and I would like to sort out my post workflow way before I get the Red (obviously). So from my research this is the workflow that I have found.

1. Film 4K or 2K (depending on project, lets say 4K for this example)
2. Bring files into SAN
3. Run files through Redcine and create 'offline' codec files such as DVCPRO HD
4. Edit DVCPRO HD footage in FCP
5. After picture 'lock' export an EDL (RedPullList?)
6. Run EDL through Redcine to obtain full 4K files
7. Take these files to a 4K edit suite such as a Quantel and conform
8. Picture out

Is this correct? Will the same workflow work with 2K and 4K?

James
 
Hi,

How I see it:

1) Film 4K REDCODE RAW

2) Bring files into big storage

3) Edit straight with the REDCODE RAW footage in FCP or Premiere Pro

4) Export EDL

5) RUN EDL through Redcine and do the one way color correction, or RUN EDL through Assimilate Scratch and do your three way CC and finishing.

6) If not using Scratch, Export to the codec of your choice depending on the software you will use next.

7) Finishing and Film out

antoine.
 
Hi Antoine,

Thanks for that! When you say edit 4K directly in FCP are you talking about extracting that 1K file from the 4K file? Will the in-built redcode support in FCP do that for me?

James
 
Yes you will edit 4K, but viewing 1k or 2K proxy depending on the power of your machine.
The possibility to edit straight the REDCODE RAW comes from RED, not really from Apple (as I understand it), because it is really the Quick time wrapper that do the trick. FCP 6.x will be optimized to handle some RT stuff with REDCODE RAW, but you can already edit in FCP 5.1 altough you need at least a dualcore computer.

In the same way, you will be able to edit with Premiere Pro.

antoine.
 
Hi antoine,

Thanks for that. That has made it a whole lot clearer! Now to configure a workstation to handle this all!

James
 
actually that's not everything. If I'm going to edit the 4K file and view as a 1k or 2k, what easy setup will this be?

James
 
Hi Antoine,

Sorry was probably not clear about that. In Final Cut Pro which easy setup would you choose. But it's cool, I will keep a very close eye on the LART and see if my questions will be answered there!

James
 
jamesratnarajah said:
In Final Cut Pro which easy setup would you choose.
Click to expand...

I would guess none of the current ones. My assumption is that when the FCP update to natively support REDCODE comes out there will be some new easy setups that come with the update. Either that or you will need to create your own custom ones.

I have to admit, I'm not much for using factory presets for anything. I always customise my own setups anyway.
 
My workflow for short form projects:
1) Capture 4k
2) Export everything to 24p SD DV.
3) Generate pull list from EDL
4) Conform and Grade in Combustion.
5) Render.
 
im.thatoneguy said:
My workflow for short form projects:
1) Capture 4k
2) Export everything to 24p SD DV.
3) Generate pull list from EDL
4) Conform and Grade in Combustion.
5) Render.
Click to expand...

Why not do your "offline" in DVCPRO 100 instead of DV???? My notebook will easily play multiple streams of the 720p stuff, and 720p 24fps is only 40 mb/sec.

The side benefit is that the " HD offline" would be far better quality for checking focus, HD projected rough cut screenings, etc...

Just curious...as your not the first I've noticed who wants to stay SD for the offline, and I just don't understand why...
 
Because DVCPRO frame accuracy is still relatively immature. I can fit more footage onto smaller drives and I can run more simultaneous streams on older computers.

Also 720p takes up too much screen real-estate when 100% zoomed. and at non-1/2^n intervals it looks terrible.
 
im.thatoneguy said:
Because DVCPRO frame accuracy is still relatively immature. I can fit more footage onto smaller drives and I can run more simultaneous streams on older computers.

Also 720p takes up too much screen real-estate when 100% zoomed. and at non-1/2^n intervals it looks terrible.
Click to expand...

I don't know about you, but with RED coming, I'm not going to be editing on small displays with old computers... :)

Hey, it's all good, but I really don't see the advantages of SD outweighing the advantages of HD for offline. Certainly for long format, dual-stream at most work I'd feel better at HD and don't forsee any performance issues. Drive space is cheap, and 25 mb/sec vrs 40 mb/sec just isn't that big of deal.

I've never heard about the frame accuracy issue of DVCPRO 100, especially since you're not actually digitizing from tape, but simply rendering from REDCINE to a DVCPRO 100 file. That ball is in RED's court, and I'd wager that any issues we have with frame accuracy will be universal to REDCINE 1.0 edl tracking with ANY format and not just DVCPRO 100.

Interesting topic though, and I'd love to see where we both stand on this in six months...
 
Reviving the thread!

Reviving the thread!

Hi Guys,

Now that Redcine beta is out (and I have learned a little bit more about workflow) I just wanted to post the workflow I think is useable for a feature cut in FCP6 and going to film-out. Please correct and add to this as you see fit.

1. Film 4K
2. Bring files into SAN
3. Cut Quicktime Reference files in FCP6 ( I understand that the latest firmware creates these files with the main r3d. file)
4. Create an EDL in FCP6
3. Run EDL through SCRATCH
4. SCRATCH 're-captures' footage at full 4K (r3d. files)
5. Colour Correct in SCRATCH
6. Film-out

Looking forward to hearing your comments

James
 
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