Workflow?

[ThomtheEditor]

Hans,

Thanks for a great product, my small scale tests seemed to work fine, my only other question is: is there any need to media manage the project before going thru Clipfinder?
Any problems with speed changes, multiclips, etc?

Also what is this color bug i've heard about in passing, i downloaded your utility fixer, but what exactly is the "color bug" and at what point in the workflow should the ultility be run?

Thanks a mil, and once we're paid for the project you'll def be getting a donation for these programs ;-)

 

[Simon Blackledge]

Red Alert > load R3d > generate proxies to get them back.

If you dont use L&T when editing proxies the clips shot that span more than 2 r3d files in a single folder screw up in Color.

send to color. Quit color. run fix on the color project. re run color and load project.

L&T seem to fix spanned r3d's just cutting proxies doesnt so fixer..erm.. fixes it

hope your project goes well.

Si

 

[Hans-Georg Daun]

Thom,

You'll need to read the RED whitepaper (on their support site) to learn which FCP "effects" (speed changes, multiclips) will carry over into Color (not many do).

As for the Color bug, flameop explains it all.

Cheers,
Hans

 

[ThomtheEditor]

thanks,

i know they don't carry over to color, just wanted to know if anything has problems thru clipfinder, any known issues etc that i might run into just in generating the xml back to final cut. or any need for media managing...

It seems pretty solid and straightforward, just covering all my bases.

thanks again,
~T

 

[Hans-Georg Daun]

Two issues I can think of...
- When conforming from transcoded Quicktimes to proxies, Clipfinder assumes you have transcoded each clip in its entire length. If you have set in/out points in REDAlert and enabled "use RSX in/out points" when rendering, the in/out-points in the resulting XML will be off. Let me know if this is the case and I'll figure something out.
- The conform gets more tricky if your original material (i.e. the R3D files) is spread over more than 1 drive. In that case, let me know and I'll send you a solution.

Other than that, the conform feature in Clipfinder is so basic that nothing much can go wrong.

Cheers,
Hans

 

[Carlos Corral]

Check out my blog post about editing with REDcode. The possibilities are endless!

http://www.mindwarpentertainment.com/blog/2009/04/editing-with-redcode/

 

[Alex Ferrari]

It's been awhile since doing a red shoot; probably since the L&T plug-in came out!

Anyway i remember reading about a workflow that you could edit with your generated QT's from Red-Cine/Alert/Rushes etc. then thru an xml use L&T on just the clips you used to then bring full R3d colorspace functionality/support over to Color.

Unfortunately, i can't remember the name or URL for this workflow; can anyone help me out?

Thanks in advance,
~Thom
:couch:

Here is the answer, straight from the pages of the RED FCP Manual. Make sure you have a tower that can handle this workflow if not you will have trouble. Here it is:

Work Offline Using ProRes; Finish Using RED QuickTime Media

This workflow describes transcoding to ProRes for efficient offline editing, then reconforming your edited sequence to reingested RED QuickTime media for final mastering and color correction using Color.

• Advantage — Editing with ProRes 422 media is less processor-intensive than editing using RED QuickTime files. After you reconform, you can work in Color at higher quality with access to all of the raw image data in the R3D file, as Color can bypass QuickTime and use the RED framework directly.
• Disadvantage — Reconforming is an extra step that requires good organization.

Stage 1 — Ingest Using ProRes, and Perform an Offline Edit
1. If it’s necessary to edit your program at offline quality for efficiency, transcode the
archived RED media to ProRes 422 or ProRes 422 (HQ) using the Log and Transfer
window in Final Cut Pro. (For more information, see “Transcoding to ProRes 422.”)
2. Edit your project in Final Cut Pro as you normally would.

Stage 2 — Reconform Your Project to RED QuickTime Media
1. Once your edit is locked, prepare your edited sequence to be media-managed by moving all video clips that aren’t being superimposed as part of a compositing operation down to track V1. This makes navigation and grade management much easier once you start working in Color, and may eliminate unused clips from the Timeline, reducing the amount of media needing to be reconformed.

2. If you haven’t already, create a “RED Using ProRes” sequence preset in Final Cut Pro. (For more information, see “Creating a RED Using ProRes Sequence Preset in Final Cut Pro.”) You’ll use this preset to media-manage your edited sequence.

3. Right-click the edited sequence in the Browser, and choose Media Manage from the shortcut menu to open the Media Manager. The recommended settings are:
• Media pop-up menu – Create Offline
• Include render files – off
• “Set sequences to” pop-up menu — “RED Using ProRes” (the name you gave the sequence preset you created)
• Include master clips outside selection – off
• Delete unused media from duplicated – off
• Use Handles – off
• Include affiliate clips outside selection – off
• “Base media file names on” pop-up menu – existing file names
• Duplicate selected items and place into a new project – on
• Include nonactive multiclip angles – off

4. Next, click the Browse button in the Media Destination area and choose a location to save the media and the new offline sequence you’re creating, then click OK.

5. When the Media Manager operation finishes, you need to change the ingest options of the Log and Transfer window before you begin to actually ingest media:

5.1. Open the Log and Transfer window, and choose Preferences from the Action pop-up menu (the menu with the gear icon).

5.2. When the Import Preferences sheet appears, choose Native from the
“Transcode to” column corresponding to the RED Plugin.

5.3. Close the Log and Transfer window when you’ve finished.

6. Lastly, right-click the new offline sequence that’s been created, and choose Batch Capture from the shortcut menu. When the Log and Transfer window appears, reingest all necessary footage from your archived RED media directories.

Stage 3 — Grade Your Program Using Color
1. Prepare the sequence for sending to Color. Clips with effects or using media that is incompatible with Color (including clips with speed effects, still images, freeze frames, and multicam clips) should be prerendered as described in the “Moving Projects Between Final Cut Pro and Color” chapter of the Color User Manual. Export each clip that needs to be prerendered as either ProRes 422 (HQ) or Uncompressed 10-bit 4:2:2, and edit the resulting .mov file into your Timeline to replace the original, unsupported clip.

2. When you’re finished, right-click on your sequence in the Browser, and choose Send To > Color to send the prepared sequence to Color for grading.
Once in Color, you’ll find that you have access to each clip’s camera setting
metadata via the Red tab in the Primary In room. You can use the RED image data as is, or make adjustments as necessary. Please note, clips that have been transcoded to ProRes 422 (HQ) lose the ability to access these camera settings, as they no longer contain the native RED raw image data.

Stage 4 — Render Out of Color

1. When you’re ready to render the color-corrected project, you have two choices:
• Option 1 – Render to DPX for film printing. As with the digital intermediate workflow
described in the Color User Manual, Pan & Scan effects are rendered within Color when you select DPX or Cineon as your Render File Type, and dissolves are rendered by Color when you use the Gather Rendered Media command to assemble the final consecutively numbered image sequence for film output.

• Option 2 – If you’re planning to output to SD or HD video (for example, if you’re rendering a second version of your program for video mastering), set the Render File Type to QuickTime, and set the QuickTime Export Codec to either ProRes 422 (HQ) or Uncompressed 10-bit 4:2:2. After you’ve rendered the project, send it back to Final Cut Pro.

Happy Coloring!:head_explode: