Color 4k workflow

[Mauro Moreira]

Hey guys, i know thats a beginner question, but i ve searched a lot in the forum and untill now i still have the doubt.
I have some footage shot in red one mysterium x, 4k 23,98, and used the L&T to proxy, edited, used media manager to create offline and reconnected the clips with L&T to the Native. But, when a i send it to color, the resolution is 2k, just like in FCP.

My first question is, if i resize the clip in Color (in the project settings) to 4k, it will be acessing the .r3d or will be scaling the 2k clip? (the Red tab is activated in the color projetc)

- Second, there`s a workflow, faster than L&T that i can use? Acessing the 4k raw data in color too?

- Third, this camera generated 2 .r3d files per folder, is that correct?

Thanks,
Mauro Moreira

 

[Craig Schober]

hi mauro,

so long as you're running the latest red color plug-in and you export 4k, you will be exporting full 4k referencing the original 4k r3d.

i use proxies more often than the l&t. they're a little more finicky but once you run colorfixer on your color project, it should fix the 2gb file limit without having to deal with extra pro-res rendering from the l&t.

you should only have one r3d clip (made up of multiple files) per folder with 4 proxies too (if you chose to write proxy option). if you see what looks like multiple r3d clips, it's only because the clips ran long and hit the 2gb file size limit to create a new file. the files should all connect seamlessly when you play them in quicktime or any player. this 2gb limit (and subsequent color proxy bug) is one of the reasons the l&t workflow was officially endorsed long after the proxy workflow was already in effect.

 

[Jean Pierre Schoch]

you can relink your files to the original R3D. Into Color, select the file, right click, then relink media.
But if you see the RED tab active, you should already have the R3D files in to color

 

[Mauro Moreira]

hi mauro,

so long as you're running the latest red color plug-in and you export 4k, you will be exporting full 4k referencing the original 4k r3d.

i use proxies more often than the l&t. they're a little more finicky but once you run colorfixer on your color project, it should fix the 2gb file limit without having to deal with extra pro-res rendering from the l&t.

you should only have one r3d clip (made up of multiple files) per folder with 4 proxies too (if you chose to write proxy option). if you see what looks like multiple r3d clips, it's only because the clips ran long and hit the 2gb file size limit to create a new file. the files should all connect seamlessly when you play them in quicktime or any player. this 2gb limit (and subsequent color proxy bug) is one of the reasons the l&t workflow was officially endorsed long after the proxy workflow was already in effect.

Craig, first, thanks for helping me.

Now, just let me understand you, if i change in Color from 2k to 4k (fcp sent 2k), and i`m referenced to the 4k r3d (the red tab is on), i`m exporting 4k, thats it?

The other workflow, you`re using the proxy that was generated by the camera? And how do i link them to the original r3d in color? I`m asking this because this would be the perfect to me.

I`ve not mentioned, but my sequence has speed changes, to match the lipsinc (its a music video, captured 4x slower, and then accelerated 400% to match the lipsinc), would this affect the your workflow?


Thank for everything!

 

[Ben Brainerd]

Now, just let me understand you, if i change in Color from 2k to 4k (fcp sent 2k), and i`m referenced to the 4k r3d (the red tab is on), i`m exporting 4k, thats it?

If the RED tab is active, you're using the original R3D. However, check your user settings and make sure your "Render Proxy" is set to "Full Resolution", otherwise you might end up rendering a 4K from a 2K proxy.

The other workflow, you`re using the proxy that was generated by the camera? And how do i link them to the original r3d in color? I`m asking this because this would be the perfect to me.[/QUOTE

The camera proxies don't need to be linked back to the R3D. They are, for all intents and purposes, links to the R3D.

I`ve not mentioned, but my sequence has speed changes, to match the lipsinc (its a music video, captured 4x slower, and then accelerated 400% to match the lipsinc), would this affect the your workflow?

Oh lord. Are they constant speed changes? If they're constant (AKA Everything's sped up 400%) you *MIGHT* be ok. Let me say that again: *MIGHT* Color does not like speed changes, but will usually handle a constant rate reasonably well.

If they're speed ramps (AKA you're playing with the time, speeding up and slowing down) you're SOL. At that point your only real option is going to be rendering the footage out of RC-X or similar, reconforming to FCP, exporting a bunch of baked-in speed changes and THEN going to Color.

 

[Mauro Moreira]

If the RED tab is active, you're using the original R3D. However, check your user settings and make sure your "Render Proxy" is set to "Full Resolution", otherwise you might end up rendering a 4K from a 2K proxy.

Ben, thanks a lot!

Ok, i will change the render proxy to full resolution.
I was thinking that the L&T (the second one, after media manager offline) was doing a 2k redcode native from the 4k, but color reads the r3d instead, right?

Oh lord. Are they constant speed changes? If they're constant (AKA Everything's sped up 400%) you *MIGHT* be ok. Let me say that again: *MIGHT* Color does not like speed changes, but will usually handle a constant rate reasonably well.

If they're speed ramps (AKA you're playing with the time, speeding up and slowing down) you're SOL. At that point your only real option is going to be rendering the footage out of RC-X or similar, reconforming to FCP, exporting a bunch of baked-in speed changes and THEN going to Color.

Abut the speed, there`s no ramps, i might not have problems with that.

Thanks!

 

[Ben Brainerd]

Abut the speed, there`s no ramps, i might not have problems with that.

Give it a shot, then. I would test a couple shots, rather than just diving into the whole thing.