Lucas Wilson
REDuser Sponsor
Hi all,
Just wanted to highlight a pretty cool workflow we are now seeing a few adventurous souls using! It is pretty cool...
Requirements:
1) Cinetal Monitor
2) REDCINE
3) SCRATCH 4.0
Let’s say that a DoP wants to establish some looks in preproduction that he or she wants to migrate through the post process. How can that happen?
On Set – Preparation and Shooting
1) DoP uses REDCINE to establish a set of different looks.
2) DoP saves each of those looks out of REDCINE as an RCC file.
3) Load each RCC file into a separate clip in SCRATCH.
4) From the SCRATCH – save looks out as 1D or 3D LUT.
5) Put all LUT files onto portable USB stick.
6) Load USB stick into Cinetal, and load LUTs into Cinetal memory.
7) Take video feed from RED ONE into Cinetal monitor.
The Cinetal monitor has the crucial ability to switch through LUTs, and feed a live video input through those LUTs. At this point, the DoP has the ability to switch between different looks on set and see their different looks in realtime. An assistant notes which looks go with which shots.
Dailies – Marrying Grades to Editorial
1) Take notes from set, and marry looks and scenes/takes from that days shooting.
2) Create Dailies timeline in SCRATCH
3) Output to data or tape for editorial.
At this point, all material that editorial is receiving contains the initial grading intent of the DoP. This is an absolutely crucial step, as directors and other artistic supervisors frequently get attached to how footage appears in the editorial stage of a project.
Conform, Color, and Finish – Closing the Loop
1) Bring Editorial list back to SCRATCH
2) Conform to Dailies Constructs. Since the Dailies Constructs have the original REDCINE looks attached, the conform will carry forward the looks from the DoP.
3) Now the colorist has a reference point from the DoP for starting the final grade!
This is proving to be a really good way to manage R3D looks throughout the pipeline.
Best,
Lucas
Just wanted to highlight a pretty cool workflow we are now seeing a few adventurous souls using! It is pretty cool...
Requirements:
1) Cinetal Monitor
2) REDCINE
3) SCRATCH 4.0
Let’s say that a DoP wants to establish some looks in preproduction that he or she wants to migrate through the post process. How can that happen?
On Set – Preparation and Shooting
1) DoP uses REDCINE to establish a set of different looks.
2) DoP saves each of those looks out of REDCINE as an RCC file.
3) Load each RCC file into a separate clip in SCRATCH.
4) From the SCRATCH – save looks out as 1D or 3D LUT.
5) Put all LUT files onto portable USB stick.
6) Load USB stick into Cinetal, and load LUTs into Cinetal memory.
7) Take video feed from RED ONE into Cinetal monitor.
The Cinetal monitor has the crucial ability to switch through LUTs, and feed a live video input through those LUTs. At this point, the DoP has the ability to switch between different looks on set and see their different looks in realtime. An assistant notes which looks go with which shots.
Dailies – Marrying Grades to Editorial
1) Take notes from set, and marry looks and scenes/takes from that days shooting.
2) Create Dailies timeline in SCRATCH
3) Output to data or tape for editorial.
At this point, all material that editorial is receiving contains the initial grading intent of the DoP. This is an absolutely crucial step, as directors and other artistic supervisors frequently get attached to how footage appears in the editorial stage of a project.
Conform, Color, and Finish – Closing the Loop
1) Bring Editorial list back to SCRATCH
2) Conform to Dailies Constructs. Since the Dailies Constructs have the original REDCINE looks attached, the conform will carry forward the looks from the DoP.
3) Now the colorist has a reference point from the DoP for starting the final grade!
This is proving to be a really good way to manage R3D looks throughout the pipeline.
Best,
Lucas