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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 :)

WHAT'S your favorite workflow??? MAC BASED

B

BigLu

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So what are some of your favorite work flows?
I work with MAC only so if your PC thats cool just not my cup of tea.
However please do tell what you like and how.

I would like to know from begging to end.

Do you shoot 4k, 3K, 2k 2to1 and so on.
how do you set up your camera?
Do you shoot to CF cards or Drive or both.
For those of you who shoot CF how many do you have on set with you.

When you dump your footage.
Do you use a laptop with FCP or do you skip that and use REDCINE or REDALERT.
How many drives deep do you like to back yourself up with?
Firewire 800?

Now for the good part.

Time to edit and grade or grade and edit.

What are your steps.

REDCINE? how do you export do you put a color grade? please be specific because I AM LOST so often.

REDALERT? do you use this.


FCP do you skip all the others and use Proxys?

Do you use ProRes or another Codec?

I would love to hear your guys thoughts.
On what your workflow is.

Cheers.
 
I dump footage to a drive (ideally drives) on location. Usually with a computer capable of REDCINE/RED Alert. Although we don't tend to do a lot of image work or review on set, but the option is there. Very soon I will be using a SolidStore for the card/drive download.

When I get the footage back, I am using Metacheater to bring clip metadata into Avid and importing the Proxy QT reference files as SD resolution for offline.

I'm then using tools of my own devising to generate DPX frames for the finished edit and conforming (on a Baselight so far, other options to be explored) from the DPX and EDL.

I'll be looking into FCP workflow with Crimson soon also.

So far all our shooting has been 4K 2:1 (with some 2K 2:1 for higher speed shots).
 
We are shooting on RED CARDS , Then downloading all card to MacBOok Pro on location. if we have no space on Laptop we are useng LaCie 1 TB storage to make back up on location . Also on location with RedCine ,director can take a look of footage.
Then we are uploading all footage on XSAN. And then working with proxys in FC , then with help of redtrip taking XML back to red cine , making first color corection , that rendering it out to ProRes Hq , or TGA and then making final color correction with COLOR.
We shooting 4k 2:1 and 16:9 , redcode36 . 2K only for Rapid.
 
Sycophant said:
I dump footage to a drive (ideally drives) on location. Usually with a computer capable of REDCINE/RED Alert. Although we don't tend to do a lot of image work or review on set, but the option is there. Very soon I will be using a SolidStore for the card/drive download.

When I get the footage back, I am using Metacheater to bring clip metadata into Avid and importing the Proxy QT reference files as SD resolution for offline.

I'm then using tools of my own devising to generate DPX frames for the finished edit and conforming (on a Baselight so far, other options to be explored) from the DPX and EDL.

I'll be looking into FCP workflow with Crimson soon also.

So far all our shooting has been 4K 2:1 (with some 2K 2:1 for higher speed shots).
Click to expand...

Now that Crimson is out have you switched your workflow?
 
Been shooting crap to test my workflow lately as I finish configuring my new station and get used to everything. So here's what is working the best so far, and I must say, I am totally surprised by how simple it is on my end.

Shooting to CF card, importing into my internal RAID using Sandisk FW800 reader. Then importing the .r3d files into RedCine and exporting them out as ProRes 422, MAX quality, HD1080, FULL process, 23.98fps .movs and then importing into Final Cut.

MacPro 8 core, 3.2Ghz, 32GB RAM, nVidia FX5600, KONA 3, 3x300GB 15,000RPM drives raided together with the Apple RAID card.

Current versions of all software and drivers as of 02APR08.

No problems so far, render times seem acceptable considering the type of footage I am now able to achieve without shooting film. (Thank Jim and the whole RED TEAM!)

I have tried Crimson, liked it.
I have tried Anders' Automator script - love it.
But the above is what works best for me.

Hope this helps someone!
 
Cut in FCP off of Pro Res files.. not the proxies.
Export XML thru Crimson and generated DPX files.
Send them to a Quantel eQ for final finishing.
Then to a DaVinci 2K for color grading.

Down with RedCine! Down with Apple Color! Those 2 options are (at this point) too buggy and troublesome for my recommended workflow.
 
We are cutting proxies in FCP > FCP XML export to Crimson to prepare for Redcine > Redcine only to scale/render the offline edit to Redlog DPX files > Quantel IQ for final cutting, primary and secondary grading.
 
Shooting CF Cards. We never erase them on set. Back up CF Card right after shooting with Nexto 2525 on set.

Back in post facility copy all footage from Nexto to Raid and LTO3. When no footage is missing CF cards are ready for reformatting. Nexto can be erased as well.

Transcode QT reference movies with compressor to ProRes QT.
Edit project.
Conforming timeline with Crimson in REDCine and back to FCP (Cineform-QT full render).
Grading with SpeedGrade. Done.

Donesides:

1. FCP does only render YCrCb in float. RGB444 gets degaded to 8bit.

2. QT-reference movies look too dark in FCP. Brighten them up in Compressor is important. Hate the QT gamma issue.

Hans
 
Hans von Sonntag said:
Shooting CF Cards. We never erase them on set. Back up CF Card right after shooting with Nexto 2525 on set.

Back in post facility copy all footage from Nexto to Raid and LTO3. When no footage is missing CF cards are ready for reformatting. Nexto can be erased as well.

Transcode QT reference movies with compressor to ProRes QT.
Edit project.
Conforming timeline with Crimson in REDCine and back to FCP (Cineform-QT full render).
Grading with SpeedGrade. Done.

Donesides:

1. FCP does only render YCrCb in float. RGB444 gets degaded to 8bit.

2. QT-reference movies look too dark in FCP. Brighten them up in Compressor is important. Hate the QT gamma issue.

Hans
Click to expand...



Very nice Hans
How do you like Nexto 2525?

Thank you.
 
why transcode footage prior to edit in fcp? why not just use the proxies and conform using crimson? Output DPX for what ever DI suite you want... Am I missing something?

Re: Color. I know there are at least a couple of post houses on REDuser that use color as their principle grading tool. Can you guys chime in? Thus far everyone has stated that color is way too buggy and the color space isn't to be trusted. Is there a contrarian view out there?
 
BigLu said:
Very nice Hans
How do you like Nexto 2525?

Thank you.
Click to expand...

Hi BigLu,

It's a great little gadget that backups data as secure as a laptop.
No raid 1, but it can verify the copy process.
Also it's pretty fast, 4min. 4KRaw takes 8 min. to copy. The camera assistant/clapperloader let's the Nexto do the job while he/she keeps on shooting. No dedicated DIT required.

Since we never erase CFs until we have the data secure on LTO, there is always a backup in case the Nexto fails, dies, gets lost etc...

As any backup the Nexto is a backup and not the final storage.

I strongly suggest to get many CF cards, at least 20.

Slightly OT: I personally don't like a laptop with RC on set. Checking exposure, etc. on set slows down the work considerably and makes the camerawork too important. I prefer a self-confident cameraman who keeps shooting and not checking the dailies on set.

Hans
 
Hans von Sonntag said:
Slightly OT: I personally don't like a laptop with RC on set. Checking exposure, etc. on set slows down the work considerably and makes the camerawork too important. I prefer a self-confident cameraman who keeps shooting and not checking the dailies on set.
Click to expand...

I agree about that personally. The shoots I've been on we've had the option to check shots with RC or RA, but seldom have done so (and then only to check that framing such as we would traditionally with Vid Split). I think that having people becoming reliant on on-set shot review will find themselves doubting themselves and wasting a lot of time checking every little thing.
 
4k 23.98 2:1 or 3k 2:1 capture to Red Drive or CF

2- dedicated 4k Red Drives
2- 3k CF cards for efficientcy
2- 2k formated CF cards for HS work if 75fps+

2nd AC marks drives if hot or downloaded

2.4mhz 1080p MBPro to eSATA Caldigit Raid 1
23 inch Cinema Display for RedCine
Lexar Pro CF reader fw800

Depending on Client, I may transcode for editorial to 10bit ProResHQ to a eSATA Seagate Freeagent Pro or G-Raid Drive.

Depending on the Project I use different workflows
REDCINE, FCP, and Crimson when possible, I use a Scratch system for the best results.
 
sparkhope said:
why transcode footage prior to edit in fcp? why not just use the proxies and conform using crimson? Output DPX for what ever DI suite you want... Am I missing something?
Click to expand...

I transcode first so I don't have to do an online. I have never liked the offline/online process. I would much rather edit the highest rez footage possible.
 
kowboy said:
I transcode first so I don't have to do an online. I have never liked the offline/online process. I would much rather edit the highest rez footage possible.
Click to expand...

Do you have an efficient transcoding setup? How long does it take to transcode 10 min of footage?

Just trying to get a picture of all available options - - your input is highly valued.

thx
 
A total of 30 min took 12 min to transcode into UC 10 bit.
The 30 min was four different shots.

i literally just import the .r3d files into RedCine and GO!. Then I'm free to edit in Final Cut and then go straight to output for delivery.
 
kowboy said:
A total of 30 min took 12 min to transcode into UC 10 bit.
The 30 min was four different shots.

i literally just import the .r3d files into RedCine and GO!. Then I'm free to edit in Final Cut and then go straight to output for delivery.
Click to expand...

This is exactly what I am hoping to do, but there have been warnings about trying to grade ProRes as opposed to DPX etc. Do you get the footage looking pretty close in RedCine before transcoding, to minimise post grade?

Jim
 
jimhare said:
This is exactly what I am hoping to do, but there have been warnings about trying to grade ProRes as opposed to DPX etc. Do you get the footage looking pretty close in RedCine before transcoding, to minimise post grade?

Jim
Click to expand...

I don't touch ProRes. Just use Uncompressed 10bit.

I do a quick one light in RC and then transcode. I work with a colorist, I don't know enough about CC and leave it to the guys who do. BUT if I were to try and do it myself, I would export DPX from FCP and import in Color because that is my option.
 
Forgive my ignorance here. I'm still looking into this system. Why can't you just work the footage the way it's recorded on the camera? I've never liked the whole offline/online thing myself. I mean why can you edit with the original footage? Why does it need to be transcoded? I understand the idea of shooting RAW and adjusting white balence/temp first. But this whole process here seems WAYY too complicated than it should be. If the cam can record 4k to CF or a small Raided drive, I should be able to edit in 4k on my Monster MacPro you would think no?

If I could design the workflow for this cam it would be as follows...

Shoot 4k Raw
Dump Footage to drives
Open in Redcine
Adjust Color temp/balance
Import EVERYTHING at 4k
Edit in 4k
color correct in 4k
violla!

Why can't I do that? Seems simple enough in theory. Then again, I'm still learning about this cam.
 
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