L&T proper resolution

[michael L]

I've shot 4k and am using L&T to prep files for the editor. I've setup a series of preset looks in redcine and all is well

Is it going to be problematic to give the editor the native 4K 2:1 ProRes files (2048x1024 resolution?????).....the editor is not a "red" person and will be editing the files in a 1920X1080 environment. Obviously some cropping will have to occur but I dont see any control with this on my end with the current path to ProRes files (via L&T)

note: there are a couple hundred files, many with sound....so i'm trying to keep the downconvert efficient on my end

thoughts?

 

[Chris Parker]

does the sound come through fine with the L and T transcode to ProRes? i am doing something very similar to you right now, and am figuring out the most efficient path to get the offline editors the files.

i gave them some test clips at 2048X1024 and they said it looks 'too widescreen' but after i explained it to them, they were fine with it.

 

[michael L]

sounds works great

so yea my editor is going to want full HD 16:9 files (proRes is fine). what is the best method to get there to keep aspect ratio, size, fill the frame etc

otherwise the image might get slightly distorted (aspect ratio) and could create problems down the road.

thoughts?

 

[michael L]

simply put, what is the best way to get from 2:1 to 16:9 with L&T tool in FC.

2048X1024 to 1920X1080

and could this be accomplished on the log and transfer so that an additional render is not required in FC

thanks in advance

 

[Dustin Cross]

L&T only does half resolution.

Open the ref files in QT and export them as Prores. Click on options, change to Prorez HQ, then click on size and change dimensions to 1920x1080 and check "preserve aspect ratio". Change the pull down to crop or letterbox depending on you the shot was framed.

You can also use Compressor, but it takes longer for the same quality.

If you want to keep your Red Alert color settings, use L&T and tell the editor to use a 1920x1080 timeline and scale the footage depending on the framing.


Mahalo,
Dusty

 

[Chris Parker]

so in order to retain the redalert color settings AND the sound, using L and T sounds like the way to go. My editor will cut in 2048 X 1024, so that should be fine then right Dusty?

 

[michael L]

thanks dustin. excellent advice

 

[Dustin Cross]

L&T is the fastest and easiest way I have found to retain RA color settings and sound. It is a hassle to save multiple SA presets, select the preset in L&T, add the footage that uses that preset to the queue, then select another preset, add that footage, etc. At least we have the ability to use the presets.

Your editor can use a 2048x1024 or 1920x1080 timeline. The footage from L&T will be half rez, but it is easy to drop 2k footage on a 1920x1080 timeline and tell it not to scale. You still end up with a little black at the top and bottom if you don't scale up though.

Also in my test the footage from L&T was better quality than conversions from Quicktime or Compressor. I had to blow the footage up to 800% in After Effects to really see the differences, so it is minor.

People are also reporting problems with footage from L&T and Crimson. I am sure Ian is working on this. This is important if Crimson is in your workflow.


Mahalo,
Dusty

 

[Chris Forbes]

What are the advantages to using log and transfer over just the proxy files? Just color info from RedAlert?