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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 :)

4K finish....conform...help

Chris Parker

Chris Parker

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okay. so i am consulting on a project that wants to do the following:

- shoot on RED
- offline edit in FCP
- colorize (the EDL) in baselight (I think it is baselight)
- finish in 4K
- project on 4K projectors

The main goal here is to keep things efficient. I am wondering, can the editor simply edit his offline using the proxy files generated by camera? When it comes time to conform, will the EDL (or XML?) point properly back to the original .r3d files?

The processing house doing this is the same one that did the Ford ICE commercial. They have said that the conform process did not work as it should, and much time was spent manually re-linking the files to make it work. this project cannot afford this additional cost and time.

I am looking for advice on how to best (most efficiently) handle this process. Any help/advice is greatly appreciated....

thanks
 
skipdivils said:
okay. so i am consulting on a project that wants to do the following:

- shoot on RED
- offline edit in FCP
- colorize (the EDL) in baselight (I think it is baselight)
- finish in 4K
- project on 4K projectors

The main goal here is to keep things efficient. I am wondering, can the editor simply edit his offline using the proxy files generated by camera? When it comes time to conform, will the EDL (or XML?) point properly back to the original .r3d files?

The processing house doing this is the same one that did the Ford ICE commercial. They have said that the conform process did not work as it should, and much time was spent manually re-linking the files to make it work. this project cannot afford this additional cost and time.

I am looking for advice on how to best (most efficiently) handle this process. Any help/advice is greatly appreciated....

thanks
Click to expand...

If the final Grade is to be done in Baselight you would need to render 4K DPX frames from the original .r3d's from REDCINE or REDALERT since Baselight can't read .r3d's. I have never worked with Baselight but I have done conform tests with .r3d's in SCRATCH and DPX Conforms in SCRATCH, all of which worked great for me.

The 4K DPX's would most likely be your best route and they will maintain the same timecode information as your QT Proxies. Assuming you don't mess with the naming conventions etc of the proxies they should have no problem relinking later to the DPX files in your Conform app. Another issue to be aware of is clips with the same names. This is something many people are having issues with when it comes time to conform or even edit.

Sounds to me like you understand the basic process, you just need people who have dealt with RED before or are as educated as possible when it comes time to execute. I can tell you step by step the process but you really need to experiment for yourself or your post supervisor. It's really not too complicated.
 
yeah. we are going to do a test this thursday. was looking for as much info. as i could get before that from people with experience, so i can go into the test with as much knowledge as possible.

any step-by-step help is also greatly appreciated, and i thank you for the post you just sent. sounds like the editor could cut from the QT proxies, and then the baselight colorist can work with the 4K DPX files, and then it will all conform efficiently.

anyone else with any other suggestions....solutions? potential pitfalls?
 
Skip,

A 4K finish is still very high end. If you are going back to film you main concern is going to be color correction and having the proper lookup tables to match your work to the final appearance on film.

So at some point you will need to be working on a high end grading system. Scratch is a great option for that, because it can handle native R3D's.

Your other option is to batch render your footage to 4K dpx or tiff (tiff will be unwieldy) and take it to another color grading system.

IBloom
 
so basically the editor CAN edit using the QT proxies and retain the proper timecode info?

If this is the case, I think it would be ideal, as he could cut immediately. Then when it comes time to colorize, use an EDL/XML to generate a list of shots within REDCine. Then export those selected shots to 4K DPX, and bring those new files into baselight.

After this though, how do we get the colorized 4K DPX clips back into their edited state? What can be done to conform at this final stage?
 
not going back to film ibloom. this is ultimately to be projected on 4K projectors.

the grading will be done on a baselight system, and this facility does not have scratch.

how can crimson fit into this scenerio, if at all? i see that it could get the final cut into a readable XML for REDCine, and then use REDCine for a convert to 4K DPX sequence to take into baselight. Then, my question is, how to get that 4K DPX sequence (once colorized) back into the timeline, so that it may be projected on a 4K projector?
 
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