Apple Work flow 101 Question

[filmmakernate]

QUESTION for sweaty palmed first timer. Did the research, seemed to figure things out but just want to make sure since it's first time. Appreciate any advice I'm on the right path. Little budget and beginning to do color on a Feature film witch footage was transcoded at 422 and wanting to go back to 4k files of course to finish. Using FCP7, with latest RED plugins loaded. As simple as possible here’s what have started to do….
1. Exporting XML in FCP
2. Using ClipFinder and running RUN CONFORM ON FCP XML FILE...this generates a new XML.
3. Importing new XML back into FCP
4. Reconnecting to F(ull) res Quicktime files in the original RED clip files.
5. Sending to Color.

I have the newest software so using new RED CS.

Questions...
Everyone refers to "back to R3D files" does that mean they are going back to the FULL RESOLUTION PROXY in the RED clip folder (meaning in the folder there's R3D, F, H, M, P) or am I missing something and somehow they are using the files ending in .R3D?


Thanks,
Nate

 

[Ben Brainerd]

Apple apps will never *say* they're linked to the R3D file. In FCP, the closest you're going to get is camera proxies, or a .MOV wrapped R3D if you did a native L&T.

Likewise Color, while it's *using* the RAW R3D file doesn't actually connect directly to it. Color seems to connect to the .RDC folder containing your clip, or to a .MOV wrapped R3D.

So when we're talking about "going back to the R3D files" (Which I try never to do, for exactly this reason) we're not talking about connecting directly to them. We're talking about onlining for our final grade/render. There are just so many different ways to do that it's easier to type "back to the RAW" and assuming someone knows their own way of doing it.

 

[David Battistella]

by the way. This is a real names forum...


http://reduser.net/forum/showthread.php?t=35308

David