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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 :)

Onlining for THEATRICAL, Sundance 2009

J

Joshua Trank

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Hey guys --

I recently cut and produced a feature on red which will be in competition at a festival this January. I have very little time to finish up and I have a few random, VERY stupid questions which require a few smart, specific answers.

1) We shot in 2K. What is the best output setting for my R3D files once I have matched everything up in Crimson Workflow? This is the setting which I will use to create a new FCP sequence, right? I know that I'm supposed to go from prores to R3D and then out to....? Fill in the blank. The film will be screened probably on some kind of digital projector, I haven't received the package from Sundance yet.

2) I am color correcting in Apple Color. Shut up, don't make fun of me. We are very low god damn budget. Anyway, once I have corrected a scene in Color, I export the XML and send back to my FCP sequence... seems pretty logical... anything I'm overlooking?

Thanks so much guys. Since we made this film for almost no money, I am the all in one editor/online editor/colorist. If we had more dough maybe it'd be smarter to just have a "professional" do it, but hell we've come this far, seems like everything has been working out just fine.

Go Red, go.

-Josh
 
um... you shot a feature and submitted it... but haven´t heard back yet right? we have a short turned in... waiting til the first week of december..... to hear from them whether we are in or not...

best of luck with the workflow.... not sure about the xml /color questions... best of luck. what is your project called? have you posted stills?

Mike Hedge
 
Hey guys --

I recently cut and produced a feature on red which will be in competition at Sundance this January. I have very little time to finish up and I have a few random, VERY stupid questions which require a few smart, specific answers.

1) We shot in 2K. What is the best output setting for my R3D files once I have matched everything up in Crimson Workflow? This is the setting which I will use to create a new FCP sequence, right? I know that I'm supposed to go from prores to R3D and then out to....? Fill in the blank. The film will be screened probably on some kind of digital projector, I haven't received the package from Sundance yet.

2) I am color correcting in Apple Color. Shut up, don't make fun of me. We are very low god damn budget. Anyway, once I have corrected a scene in Color, I export the XML and send back to my FCP sequence... seems pretty logical... anything I'm overlooking?

Thanks so much guys. Since we made this film for almost no money, I am the all in one editor/online editor/colorist. If we had more dough maybe it'd be smarter to just have a "professional" do it, but hell we've come this far, seems like everything has been working out just fine.

Go Red, go.

-Josh
Click to expand...

Congrats!!! Is this XXXXX? (deleted to protect the innocent)

I am pretty sure you were supposed to "keep quiet" until line-up was announced ... your phone will most likely ring any moment ...:w00t:

Again, huge congrats. Get a great publicist. I think Weiman Seid is one of the best in the biz - and knows how to work the dance -

http://www.fatdot.net/
 
HD at Sundance

HD at Sundance

At least as of last year, digital screenings were from an HDCam master, with an Lt/Rt mix. Nothing particularly fancy. They want 60i, but you should finish 24p and then let your deck do the interlacing.

Over the next week or two they should publish their exact technical specs for the tape they want. This will be very specific, but as I recall from last year, nothing out of the ordinary.

If you have the disk space and a Kona 3 card, I would recommend working in uncompressed Kona 10-bit 4:2:2 files. Color sometimes (always?) applies a gamma shift to 4:4:4 data when it renders.

Good luck...

John
 
kandyd said:
If you have the disk space and a Kona 3 card, I would recommend working in uncompressed Kona 10-bit 4:2:2 files. Color sometimes (always?) applies a gamma shift to 4:4:4 data when it renders.
Click to expand...


Really, wow. So are you saying when I output my R3D's I should set them to uncompressed 10-bit? Then I do my color correction, save everything, and then I'll be ready to go out to tape?
 
I don't think we can afford a Kona 3 card -- will I still be able to get the same 10-bit uncompressed? I am working on a mac pro 2 x 2.66 ghz with 8 gigs of ram.
 
Do i just download the Kona 3 plug ins from the AJA website?
 
Joshua, I know it's a drama but man that is the funniest storyline, especially based on where I'm from and an event that happened last February.

Good luck with the film!
 
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