Edit In Fcp...colorize In Baselight

[Chris Parker]

ok, so i have done some more research and also talked to mark at offhollywood (which by the way seems like such a kick-ass place i can't recommend them strongly enough).

going to be working on a project that shoots red, and finishes 4K.

the editor wants to cut using final cut pro.

my part in this project is to be small. the footage will be sent back from all over the world (as they shoot). I will transcode into proresHQ using the _M proxy file generated by the camera. I will then put all of these new clips into a folder so that the editor can use these files to do the offline.

Then, the colorizing will be done on a baselight system.

A couple of specific questions...

Will the editor be able to generate an EDL with the proper metadata from Final Cut to then continue on in the process and pull the appropriate clips together and prepare them as 4K DPX files for the baselight color session?

What freedom does the editor have in changing the names of the clips without losing the ability to do a very efficient conform later on in the process? (i.e. can the transcoded QTs be given a different name so that the editor isn't looking a bins and bins full of clips named using the RED camera naming convention?

As a note, I am planning on dumping all the footage (.r3d's) that gets sent back from the field on smaller external drives onto one big, fast RAID. I then plan on keeping the transcoded QT's on the same RAID. This RAID would then go to the editor (they won't start cutting until after the shoot is finished). I am then recommending that the final cut project file is also dumped onto this same RAID, along with the EDL, and this RAID then goes to the processing facility to be run through the baselight/onlining stages. Does this make sense?

The big concern of all involved is managing the data through the process to avoid any additional time if/when the cut is changed, and a conform is needed.

Anyone?

 

[Sanjin Jukic]

Have a look at the PlasterCity's Digital Post REDfast workflow diagram

LINK>>> Scroll over workflow diagram!

If they can grade in Quantel's Pablo with 4K DPX you could do the same in Baselight.

 

[Mike Prevette]

I would recommend against any file renaming. Your editor can rename clips in FCP, and it won't effect the physical file name. At least then it's a little bit easier to relink your EDL.

 

[Chris Parker]

thanks for the tip mike. that is EXACTLY what i was wondering. so....you CAN re-name the files within your final cut project....just leave the root quicktimes alone? then all should be fine when it comes time to conform???

 

[I Bloom]

thanks for the tip mike. that is EXACTLY what i was wondering. so....you CAN re-name the files within your final cut project....just leave the root quicktimes alone? then all should be fine when it comes time to conform???

I would leave the filenames in your browser items, just put the shot description first.

IBloom

 

[Chris Parker]

thanks ian.

 

[Dylan Reeve]

I'm not at work, so I can't check - when importing the proxies into FCP, does it populate the 'Reel' field of the clip info?

Using Avid, I've been setting th Reel name to just be the RED Reel ID (eg. A001) and going from there. The DPXs I create later have that Reel ID in them, and that combined with the timecode was sufficient to relink in Baselight.

I haven't experimented with FCP and Crimson yet... So I can't comment there, but from what I can determine the reel name and timecode will always be the most important things when relinking an EDL is something like Baselight.