Worlkflow for an TV Commercial on RED?

[Pierre Haberer]

If you're finishing on DigiBeta, you should shoot at 25fps. You'll get the film look. If you shoot at 24fps, the conversion to 25fps always look a bit dodgy.
For your info, most feature films are transfered to Digibeta masters by speeding them up from 24fps to 25fps, so they are actually shorter than when you saw them in the cinema.

 

[Ian Karr]

One more thought...

If you'd like real-time color-correcting and repositioning with the R3D files, I recommend going to a SCRATCH suite. The immediate interactivity and secondary color corrections possible in SCRATCH will no doubt give you a better looking final product. And the DPX files can be output directly. Contact me off-list if you'd like more information...Good luck with the project!

 

[Kire Godal]

HI guys, I am going to ask a few of my own. I am about to do a project for International TV that will be HD 16:9 1080i50 Pal delivered on PAL HD Masters. I will also be using footage shot from a Sony HDV camera. ( we have 'user generated' materials - this is for a Tribal- Reality type documentary.) I am trying to decide the best work flow. I leave in one week. I was thinking to shoot 2k on Rec709, then offline here in Nairobi on FCP using the proxies. I read a thread suggesting this to avoid long rendering times. But how do I import the quicktimes direct?

Is this a good idea? This documentary needs to look ENG ish, and will be very fast moving, run and gun action.

I want a straightforward solution that will work for this type of project.

The Online edit and color grading, and final out put will be done in UK. What is the best format to hand to the offline editor? What do you suggest?

I'm sweating, trying to figure this all out, and reading forums inside and out to find the material I need to make a good decision.

Thanks, Kire