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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 :)

EPIC/SCARLET Workflow Diagram

Anthony Vu

Anthony Vu

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Hi Everyone,

There are a lot of workflows out there for RED ONE/EPIC/SCARLET which makes it hard to find, learn, and compile resources. Not to mention, everyone is using different hardware and software. When trying to find the best workflow, the answer is always going to depend on many many factors.

I'm a visual learner and I wanted share this Workflow Diagram that is comparatively basic. It's currently a Work-In-Progress, so I'm more than happy to listen to advice, suggestions, and improvements to make changes. I just wanted to make a simple tool for those new to RED. :001_smile:

I'm trying to make it easy to follow and may include strengths and weaknesses to each Workflow. Please let me know what you guys think.






This diagram for a very basic, but fast, Final Cut Pro Workflow.
Weaknesses: Maximum 2K delivery. Color depth dependent on codec used. Workflow assumes that color correction/grading in FCP.




This is a Adobe Premiere Pro CS5.5 Workflow Diagram that shows you a fast way for 4K delivery.
Weaknesses: Conforming to Adobe Premiere Pro for many Final Cut Users. 4K can be taxing on computer without a RED ROCKET.

 
This is fantastic. Thank you!
 
I would also note, that with the Ki Pro mini at least, it can record with the same clip names as the EPIC/Scarlet which allows you to use the proRes files to edit offline and then relink to R3D files later for proper grading.
 
I signed on tonight looking for something like this... I love it when it works out like that. Thanks! Very helpful.
 
Thanks Bob. I included that note in the new update I made.

Bob Gundu said:
I would also note, that with the Ki Pro mini at least, it can record with the same clip names as the EPIC/Scarlet which allows you to use the proRes files to edit offline and then relink to R3D files later for proper grading.
Click to expand...


I updated the original post with a couple more Workflow Charts. Hopefully this helps and is easier to follow since I reduced the clutter.
 
Thanks for the kind words guys. I'll try to update this workflow charts with more complex 4K delivery which will include roundtripping/reconnecting media to 4K RAW. In the charts are links that you can find for video tutorials as well.
 
Thanks Anthony, super clear, clean and I love the screen shot you chose for the end result. :)
 
Nice work Anthony, very creative presentation.
 
It's a nice overview for a starting point, but the devil is in the details with offline/online workflows. For example, the Sound Devices Pix can create proxies to relink to the original R3D as well, 720p proxies can have issues as its native timecode is 30fps (SMPTE) and may have 2:3 pulldown offsets introduced depending on NLE's uses in the process. Double system audio would be nice to add, etc. Looking forward to see more added.

Michael
 
Anthony Vu said:
Thanks for the kind words guys. I'll try to update this workflow charts with more complex 4K delivery which will include roundtripping/reconnecting media to 4K RAW. In the charts are links that you can find for video tutorials as well.
Click to expand...

Great stuff Anthony. Is it possible to use the Nano Flash as well? If so, could that be included in the workflow. Also, concurrent or separate workflows for TV distribution and/ or stills would be great. Thanks for breaking it down Anthony.
 
I'm not sure about Nano Flash. If someone can confirm that Nano Flash works, I'll update the workflow. I'll be adding more when I have more time as well. I'm trying to gather as much info as I can and test them out. Would hate to put up a chart that simply doesn't work.

Anyone want to help me please PM me and we'll talk. :)

Ray Palin said:
Great stuff Anthony. Is it possible to use the Nano Flash as well? If so, could that be included in the workflow. Also, concurrent or separate workflows for TV distribution and/ or stills would be great. Thanks for breaking it down Anthony.
Click to expand...
 
Additions

Additions

Hey, I was just wondering about where visual effects slots into this diagram. I think that it would be between RED CINE X PRO and Final Cut Pro, but you're opinion would be helpful.

And following, would sound be a run off of Final Cut Pro the same as Exporting to DaVinci?

By the way, I think this diagram is sick and is extremely helpful.
 
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