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Basic DPX workflow questions

A

Alexander Somma

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Hello everyone.

We´ve just finished shooting a short film on Red, and are about to go into postproduction. I´m kind of new to the whole dpx workflow so I have a few basic questions I hope you guys can help me with.

These are the formats and software we plan on working with.
*The edit will be done with FCP and prores files.
*The vfx composites in AfterEffects and colorgrading in COLOR, both from 2K REDLOG DPXs.
*We will be printing to film.

In earlier projects we´d render the vfx composites to unc10bit, then make new prores offlines off of those for inserting and testing in the edit. Then when everything was done we´d do a send to color, grade and render, and send back to FCP.

I know we´ll be rendering out REDLOG DPX files from redcine or redalert, and I know how to set AfterEffects up with log2lin and lin2log.
What I don´t get about the DPX workflow yet is how we´re gonna wrap everything together in the end, as well as test the vfx shots in the edit underways.

We´ve never used timecodes and EDL before because we´d simply name the shots based on their content and edit that.

How do we get the FCP prores edit to COLOR with DPXs?
How do we get the vfx shots from AE back in to the edit?
 
Too stupid question to get an answer? :)

I was hoping one of you could explain a typical dpx workflow for me.
 
try the search feature. 100's of threads that address RED workflow...

read, search, find and good luck!
 
I've done a bit of searching and it seems a lot of people are using the crimson workflow.
I saw the videodemo on crimsonworkflow.com, but it doesn't go into detail about dpx.

I understand how I can use crimson to pull only what I need from the r3d files based on the edit, and that I can render DPX from redcine with that workflow, but where do I go from there?

We will start working on the vfx shots BEFORE the edit starts and will continue to update those shots during edit. All the explanations I see start by sending a finished edit xml to crimson.
 
Alexander Somma said:
I've done a bit of searching and it seems a lot of people are using the crimson workflow.
I saw the videodemo on crimsonworkflow.com, but it doesn't go into detail about dpx.

I understand how I can use crimson to pull only what I need from the r3d files based on the edit, and that I can render DPX from redcine with that workflow, but where do I go from there?

We will start working on the vfx shots BEFORE the edit starts and will continue to update those shots during edit. All the explanations I see start by sending a finished edit xml to crimson.
Click to expand...

Alexander,
Crimson can't get you all the way there today. I think you need GlueTools or to experiment with Premiere/After Effects workflows.
I understand you are working with Shake. I love shake but I'm buying Nuke for my next VFX project because Shake at 4K is to damn slow.

Stay tuned to what is coming from Crimson next though. It's built for guys like you.

IBloom
 
ibloom said:
Alexander,
Crimson can't get you all the way there today. I think you need GlueTools or to experiment with Premiere/After Effects workflows.
I understand you are working with Shake. I love shake but I'm buying Nuke for my next VFX project because Shake at 4K is to damn slow.

Stay tuned to what is coming from Crimson next though. It's built for guys like you.

IBloom
Click to expand...


Hey IBloom

I actually I think we're gonna use After Effects since the tests I've done with shake so far are way to slow. I know the editor would prefer to still edit in FCP tho..

I just made a new thread in your own help forum, and really need some suggestions on our workflow. Can you have a look at my post over at your forum?
 
FWIW, if you're editing with FCP on a Kona system, AJA offers a free DPX to Quicktime (and QT to DPX) conversion tool. Just go to the software downloads section of aja.com and look under "utilities".
 
If you are outputting to film you should grade at the lab anyway. Only then you can be sure that what you are grading is what will end up on film. The lab should by now be able to help you with your workflow questions.

Regards
Simon
 
I talked to the lab and they said that the best way for me would be take log DPXs from REDCINE into COLOR, but then work and render it out as rec709 linear DPX (because I have a panasonic broadcast monitor, and they have a LUT that will translate that to log space for film.)

Does this make sense?
 
DPX Workflow

DPX Workflow

So, what did you end up doing for your process of getting files from the original r3d clips, into After Effects and to Color...with the DPX format?

Can you provide info on what ultimately worked for you? We also want to maintain the best for the colorist in the end...
 
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