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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 :)

FCP Workflow PDF

Chandra,

Cool of you to post this.

You mention that you can't change from 2K to 3K to 4K on the same drive. In actuality, the limit is really the framerate, as a project can only have one framerate. But the resolution can change as long as you use the same framerate.
 
Thanks for this, this is brilliant (and beautiful).

I don't have my camera yet, so I'm not familiar with the workflow- could you clarify something for me?

Why is it necessary to go through all of these steps a separate time each for the 2K, 3K, and 4K files?
 
Thanks for the Workflow.

I had found that this combination was the most likely to make a RED movie after one recently done here.

I was wondering though, does the 2048 x 1024 have a 16:8 frame with the :1 remaining divided into 2 black bars at the top and bottom?
 
Hey guys,

No probs. I had to do hours of research when I was initially looking for a workflow. Hopefully this will reduce some time for future RED customers.

Snow, Andrew: The editing is done and I'm about to submit it to festivals. I'll keep you guys posted on what's happening. But I'm also in the process of cutting a trailer. Once it's done, I'll post it in here.

Steve: You are right. Thanks for pointing that out. It's because of frame rate limit on resolutions, that we need to format drives...

Ryan: Thanks. As for going through the steps for each resolution, it's because as you online it in Redcine, you need to select the original size it was shot on or else it will be cropped. This was a mistake I had to redo myself. During my first render from offline prores to online, I forgot to change the size from 2048 X 1024 to 4096 X 2048 for my 4K stuff and hence the whole picture came out significantly cropped :). So I had to redo the whole thing. A mistake I have learned from. So make sure you always select the original size of the file (4k, 3k or 2k) in project settings of Redcine. If you choose 4K and there's a 3K or 2K file within it, then you will get a black box padding around the picture.

Ashoka: You are welcome. I don't think the :1 is split. Its just that 2:1. Depending on the encoder and the settings, in order to preserve aspect ratio, you might need to apply padding.
 
stevesherrick said:
Chandra,

Cool of you to post this.

You mention that you can't change from 2K to 3K to 4K on the same drive. In actuality, the limit is really the framerate, as a project can only have one framerate. But the resolution can change as long as you use the same framerate.
Click to expand...

More precisely, it is the project frame rate that can't be changed.
You can perfectly shoot 4k@25fps, 3k@50fps and 2k@120fps all on the same drive as long as the project frame rate remain the same, like 25fps.

Emmanuel Cambier
 
Emmanuel Cambier said:
More precisely, it is the project frame rate that can't be changed.
You can perfectly shoot 4k@25fps, 3k@50fps and 2k@120fps all on the same drive as long as the project frame rate remain the same, like 25fps.

Emmanuel Cambier
Click to expand...

Yes, and the way to really keep it straight in your mind is to refer to it as project playback rate. You can shoot all day long at different variable frame rates, but the project playback rate always has to remain constant or you have to create a new project, hence the need to format or change drive/card.

But, yeah, we are saying the same thing.:)
 
Thanks Ckilaru, it looks like the right workflow, will be following it thoroughly
Rocio
 
Chandra Kilaru, any reason why you note this:

4.If there is a camera PAN at close range, there is a good chance that there might be a stutter (based on the speed of the camera moment). Double and triple check these shots in both RedAlert & QuickTime.

What if there is a stutter? Lim
 
Thanks Kilaru...
 
Very interesting...very thorough. But this document also shows how extremely complicated and time consuming the workflow can be. and this is why many editors will continue to shun RED. We can only hope the future of RED post production will be more streamlined with fewer steps and hopefully one piece of software that will do all or most of the work. But until then, for those of us already working with RED footage, this was very helpful...thanks.
 
So gang a much more simple approach is what we do (although this workflow is very detailed and well worth following)

We see it as such:

1) render everything in red rushes (use the lowest quality you can stand)
2) import into final cut and edit to your hearts content
3) use crimson or clipfinder to get the names of the clips you used
4) export those clips again with same name and final color correction
5) re-link to new color corrected full res media.

note this is a quicktime finish, for DPX stop at step 4 and use crimson with the cowboy intermediates and render the dpx sequence out of redcine and send those to the film lab.

The document uses very similar workflow it is just a highly detailed version and if you can get your head around this simple outline red post production is rather easy.
 
This PDF helps A LOT ! THANKS A TON!!! But I am not clear on making 2k,3k,4k sequence. Does that mean you copy the sequence 3 times and then change the settings according to its resolution ? i.e. 2k(16:9) =2048x1152, 3k(16:9)=3072x1728, 4k(16:9)=4096x2304.
 
thanks for writing this, lots of good info, however you're missing an important issue in step 28.

You are aiming to a 10 bit master, but FCP will truncate your color information to 8 bit if you use any transition other than a cross dissolve or if you use many of the filters.

See the list I made here:
http://www.coremelt.com/support/wor...online-workflow-with-final-cut-pro-6.0.2.html

You need to use third party transitions and filters to make sure you keep the 10 bit color through to the final master.
 
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