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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 :)

Dailies Workflow w/Red Rocket

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craigjkharris

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Hey everyone, just wanted to share the workflow I'm currently using on a 2 RED Camera feature.

Here's what I'm getting in terms of footage every day:
5-6 Hours total (Crazy amount of footage - I've never seen the like!!!)

Here's what I have for equipment:
-Mac Pro Tower | 2x2.26 Quad Core | 12 GB Ram
-Red Rocket
-Backup (Internal 4TB Raid; Glyph 1TB Esata Drives; Wiebe Tech 2TB Backups)

Here's my process:
- Data Management w/R3D Data Manager
- Quick QC with Clip Finder (I use this to scrub tracks and create a log)
- Do First Light Pass & Encode Pro Res files with RocketCine X
- Import Pro Res Files into Final Cut Pro
- Import BWF files into Final Cut Pro (8 Track Polyphonic)
- Select the Sound and Picture bins -> Export XML for Picture & Sound
- Using Sync-n-Link, open XML and sync Sound to Picture
- Open synced XML file in Final Cut
- Export Dailies for DVD
- Send drives & FCP file to post

There ye be....
Hope that will help someone.
 
I am monitoring with a calibrated Apple Cinema display.

We're also using color charts at the beginning of each scene change which allows me to use a histogram to balance the shots.

This production is being color graded at Technicolor and they won't be referencing anything I'm doing here on set. Periodically I get the DP / Director in here to make sure we're on the right track.

Things are looking great here, in post and at the lab.
 
I haven't been able to find an less expensive solution. Try using the MERGE tool in FCP.
Compared to the time it traditionally takes to sync picture to sound, Sync-N-Link is well worth it. It is also very affordable if you compare it's cost to that of hiring an assit. editor or doing it yourself.
 
craigjkharris said:
I haven't been able to find an less expensive solution. Try using the MERGE tool in FCP.
Compared to the time it traditionally takes to sync picture to sound, Sync-N-Link is well worth it. It is also very affordable if you compare it's cost to that of hiring an assit. editor or doing it yourself.
Click to expand...

Somebody still has to make the scene bins though, right?
 
I create a new project file for everyday and 1 sequence per camera. I mark the head of each scene change with a chapter mark and then send the files & FCP project file off to post.

You can do it however you like. The benefit of my workflow is being able to process large amounts of media with the RED Rocket and Sync-N-Link.
 
Mark L. Pederson said:
Rocketcine-X and soon REDCINE-X have auto sync. Cost = $0
Click to expand...

Rocketcine-X and Redcine-X do not have the ability to sync audio unless it's ONLY 4 channels or less.
I have never worked on a set where there is only 4 channels of audio. Also, Rocketcine-X re-wraps the audio with new file names. This creates a big workflow problem when soundpost needs to reference audio sources.

Most shows I'm on use 8 Track Polyphonic etc.

One of my deciding factors for purchasing a RED Rocket™™™ was it's ability to sync sound to picture. When I realized I couldn't do it for more than 4 channels of audio, I had to find another solution. That's when I found Sync-N-Link.

I'm sure that RED will improve that part of their software, but until then it doesn't work.
 
I agree that the limitation of 4 audio channels is limited in many productions as well as lack of metadata to trace back to the original BWF for the sound editors. This issue has been raised before and I hope that RED addresses both issues. I recommend when using Media Composer that the original BWF be imported into MC, AutoSync works as fast if not faster and allows for resyncing as needed, all metadata tracking, etc.

Michael
 
Mark L. Pederson said:
Rocketcine-X and soon REDCINE-X have auto sync. Cost = $0
Click to expand...

Woohoo! How well's it work?

I'm suddenly being asked by clients to do HD rushes and audio sync overnight... Need the most robust / reliable solution possible, at the lowest possible cost (reality notwithstanding).

- Jordan
 
I can't say for more than two tracks

I can't say for more than two tracks

I can't say for more than two tracks, but for two tracks it works great.

Digmag -> R3D Data manager -> REDCINEX (grade)-> ProRes -> FCP -> DVD Dailies

Steve
 
Mark L. Pederson said:
Rocketcine-X and soon REDCINE-X have auto sync. Cost = $0
Click to expand...

I know right? its insane Mark!

@Craig.. good workflow save I'd start learning Redcine=X because its replacing Rocketcine and its pretty sweet- Deanan and gang are kicking ass on it. Put it this way, Ive transcoded with RR all week with no issues.

Give it a shot, you will like it. Cheers!
 
Chris Parker said:
does offline editorial want all 8 tracks on their QTs? are they working in merged clips or self-contained QTs?
Click to expand...

It depends - a lot of "offline" editorial using full-debayer 1080p ProRes HQ or ProRes 4444 files are actually "online" that way too. Some clients are asking me for all external audio tracks to be synched, as they will send an OMF file to ProTools directly from their timeline, and like having everything pass through the whole workflow automatically. Fortunately, REDCine-X can automatically sync all of your external audio tracks to the QuickTime file if they are BWF with matching timecode.

- Jordan
 
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