The FCP Workflow

[JoakimZiegler]

What is the quick headlines on that medium? We're still loading everything to SATA drives and putting that in storage because so often clients come back within the year and need something from a project.

By headline I mean:

Unit costs: _______
Cost per gig after unit purchase (i.e. tape cost per gig):_________


(SATA are about 30 cents per gig)

We also use LTO-4 for archiving projects. The unit cost is a bit variable, 4500 dollars should definitely get you one, there's a Tandberg LTO Ultrium 1640 on Amazon (of all places) for about that, we use a Dell SAS model which I think was slightly more expensive, but we bought it a few months ago too.

You also need to figure in the costs of a controller and a server to run it on, probably, and work out what software to use to backup/restore. Most backup software is not really suitable for the sort of thing you need for long-term project storage. We hacked up some scripts using tar on a Linux box ourselves.

As for the tapes, it seems going price is about 125 dollars per 800 GB tape right now, at least in quantities of 5 or 10. That translates to about 16 cents per gig. Beware, though, that 800 GB in this case is 800,000,000,000 bytes, which is what your filesystem would report as about 745 GiB. Standard storage disclaimer.

 

[Falkenberg]

Firewire and ProRes?

Firewire and ProRes?

I am planning to use a Pro Res HQ workflow; Convert my R3Dfiles to ProResHQ and do all my further work in that format. I will use a MacPro with a AJA IO HD.

My question is: Can I work from Firewire 800 disks?


Christer -
Film Faktisk

 

[Adam Levins]

A01. First thing is to Load up every clip individually in Red Alert and then save it out as a 2k TIFF. If you want to make some major adjustments to the color and look - this is a good time to do it. You're color control is best at this stage.

Hi Mark,

This aspect interests me. As a DP one often gets time booked in for the grade after the edit. At this stage the film is in somewhat of a finished stage as far as the cut is concerned. With this work flow do the Colorist and DP need to make there decisions on the look very early on?

I guess it worries me because it seems like allot of work, at this early stage not knowing what footage will make it into the cut.

Thanks Mark for the post, very informative.

 

[Kwan Khan]

good info

 

[Tar]

CineForm?

CineForm?

I'm surprised there isn't a mention of a CineForm workflow in here. I haven't shot a RED project in a few months (which means I'm probably lights years out of the loop) but I was reading over CineForm NEO 4k and it looks pretty promising. Is it too good to be true? any drawbacks to the NEO 4k workflow vs. the ones described in this thread?

 

[Stephen Ruiz]

Hey guys,

I'm working on editing a feature film. I've never dealt with the RED before, and I have very, very limited knowledge of the terminology. So the first post in this thread was mostly helpful, but I'm still trying to figure it out.

1. Edit reference files in FCP.
2. Export EDL.
3. ???

What do I do?

 

[OneLung]

HD ProRes Offline, then Monkey Extract

HD ProRes Offline, then Monkey Extract

This is the workflow that seems the least complicated in terms of data wrangling, in my mind making it the most efficient. It's processor entensive on the frontend and the backend but will save you HOURS of grief during editorial.

1)Export 1920x1080 HD ProRes QT's from REDRushes at whatever resolution suites your fancy. The thing is that you shouldn't in 99% of cases edit at full res because it's overkill. I like REDRushes over FCP's import because you have more resize options and also generally with most projects I like to burn-in the TC/TOD below the letterbox as a safety measure.

2)When finished editing Export a CMX 3600 EDL and send to Monkey Extract.

3)Use Monkey Extract to export only the DPX frames needed. Use these frames to conform from in whatever system makes sense for your project. The DPX files give you the latitude you need to do real color work on your choice of systems and if you need it back in FCP just can create quicktimes from the DPX sequences and replace the media in FCP.

 

[Loren White]

Any advice for this situation?

The editor, edited in FCP using the Proxies. He has at times 4 layers of video. Apple Color does not like this. Do I burn these into Pro Res 422 HQ? Wouldn't that create some inconsistency between working off the r3d's and prores for final output? What should I do, knowing that I need to burn in.