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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 :)

Native Workflow Quality Question

You don't really have all the debayer options.

I suggest you do a full debayer in RA/RCX and one in Color and check the difference...
You'll see the biggest difference on lowlight shots, but if you pull a diff-matte, you can look at it and check if its within your acceptable ratings.

That said:
They may well be.
 
Ben Brainerd said:
If you're working with the proxies, you're doing a debayer.

If you're working in Color and have the RED tab, you're doing a debayer.

If you're working in Color 1.5, have the RED tab, and have the Render Proxy set to "Full", you're getting a full-res debayer.

My question about your workflow is why "Step 1. Grade as best as you can in RedCine"? I can understand doing some basic one-light stuff to make the edit easier, but once you go back to your online proxies, everything resets back to your as-shot data.
Click to expand...

Help me understand:

My original understanding was that the FCS/Color workflow doesnt do a proper debayer. My workflow used proxies to make the edit faster, and then online to your debayered, best-you-can color corrected footage (as ProRes files), and then use Color on those files (not referencing the original R3Ds) to get the final tweaks.

What you're saying, is that using the FCS workflow, Color and Final Cut work together to make all of your grading adjustments, and you can also export your final edit, all beautifully debayered. I've read that RedCine is where you should be doing your debayering, thus my posted workflow.
 
David Kruta said:
Help me understand:

My original understanding was that the FCS/Color workflow doesnt do a proper debayer. My workflow used proxies to make the edit faster, and then online to your debayered, best-you-can color corrected footage (as ProRes files), and then use Color on those files (not referencing the original R3Ds) to get the final tweaks.

What you're saying, is that using the FCS workflow, Color and Final Cut work together to make all of your grading adjustments, and you can also export your final edit, all beautifully debayered. I've read that RedCine is where you should be doing your debayering, thus my posted workflow.
Click to expand...

IN Apple Color you get full access to the R3D. If your quality is set to FULL then you are getting a FULL debayer from the RED footage.

Properly graded through Color the DPX's or QT's look excellent.

David
 
David Battistella said:
IN Apple Color you get full access to the R3D. If your quality is set to FULL then you are getting a FULL debayer from the RED footage.

Properly graded through Color the DPX's or QT's look excellent.

David
Click to expand...

Thanks, David. That clears up a lot for me. Will run some tests.
 
David Battistella said:
And read through this post very carefully to see how Apple Color was used with some recent M-X footage.

http://reduser.net/forum/showpost.php?p=544663&postcount=2


David
Click to expand...

Excellent info.

In your opinion, and if you dont mind sharing, what would be your workflow for the following:

1) Output to 1080p Bluray, and smaller versions of the same thing (for DVD, web, etc)

2) Same as above, but including RC-X/FLUT?New color science capabilities

Would love some insight. Thanks!
 
David Kruta said:
Excellent info.

In your opinion, and if you dont mind sharing, what would be your workflow for the following:

1) Output to 1080p Bluray, and smaller versions of the same thing (for DVD, web, etc)

2) Same as above, but including RC-X/FLUT™?New color science capabilities

Would love some insight. Thanks!
Click to expand...


For number 1 I do this step by step.

http://reduser.net/forum/showpost.php?p=480612&postcount=1


For number two, I guess I would only use FLUT on "problem shots", but a really practical workflow does not yet exist.

I believe only SCRATCH and PABLO have integrated the new science.

David
 
David Kruta said:
2) Same as above, but including RC-X/FLUT™?New color science capabilities
Click to expand...

RedCine-X and FLUT are not really production-ready at this point. There's no good way to get footage in/out from an edit, with the exception of a very kludged-together Clipfinder workflow.

Short version of that: Import XML into clipfinder. Use the "Prepare Clip Directories for L&T" command. (Which moves all your used R3Ds to a single folder) Feed that folder into RC-X. Grade clips. Render *entire* clip.

The plan is for RC-X to eventually have 'hooks' that developers can use to tie in things like XML inport. So we might eventually see something like Crimson for RC-X, but not soon. Those hooks aren't there yet, and no one's started coding for it. (That I know of)
 
So, what you are saying is that yes the Native>FCP>Color>FCP is that way to go???

That yes FCP/Color debayers contrary to my boyfriends (at Scratch) claim that I have to buy a $20K pink anchor in order to deliver my spots???

My red brothers... whats it going to be??? yes or no?? Can I have a high end finish in the Apple workflow???




Ben Brainerd said:
If you're working with the proxies, you're doing a debayer.

If you're working in Color and have the RED tab, you're doing a debayer.

If you're working in Color 1.5, have the RED tab, and have the Render Proxy set to "Full", you're getting a full-res debayer.

My question about your workflow is why "Step 1. Grade as best as you can in RedCine"? I can understand doing some basic one-light stuff to make the edit easier, but once you go back to your online proxies, everything resets back to your as-shot data.
Click to expand...
 
It may not be *THE* way to go, but it is *A* way to go. There's no one way to work with RED footage. Sure, Scratch is an option. So is Lustre, Pablo, DaVinci, Baselight, etc, etc etc.

It is quite possible to deliver high quality finish using just the Apple tools. Anyone who says differently is trying to sell you something. :P
 
Carlos Prio said:
So, what you are saying is that yes the Native>FCP>Color>FCP is that way to go???

That yes FCP/Color debayers contrary to my boyfriends (at Scratch) claim that I have to buy a $20K pink anchor in order to deliver my spots???

My red brothers... whats it going to be??? yes or no?? Can I have a high end finish in the Apple workflow???
Click to expand...

Carlos

read the link in post number 27. The Apple workflow is one of many excellent options.

David
 
I second David's statement. We have used it for many projects, and we are currently using that route for a feature. However, we do the "native" alternative at Log and Transfer, as opposed to transcoding. A friend of mine uses the transcoding route, and it adds too much extra work and data, let alone headaches...

If you know how to use your tools, it does work. Telling that "S" is the only way to manipulate R3Ds, is just a false statement. :nono:
 
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