Mixing R3D with HVX and EX1 footage

[HD Hildebrand]

I'm sure this has been asked many times but can't seem to find. I'm mixing R3D with HVX and EX1 footage. I wish to use the proxies with R3D. Any suggestions on how to treat the HVX and EX1 footage in order to work with it on one timeline?

Appreciate any help on this.

Cheers,
Dale

 

[Kaku Ito]

What frame rate are you working with?

If Prores422HQ is okay with you then it is not much problem. Just set you project as ProRes422HQ and bring DVCPRO HD and EX clips then render as yo u need. You can also convert DVCPRO HD and EX clips to ProRess422HQ in the compressor.

 

[HD Hildebrand]

Thank you Kaku-san.

23.98 is the frame rate. So, I can simply mix the proxies with the ProRes422HQ on the same timeline?

Also, I have a lot of Nikon D300 RAW (nef) timelapse footage I need to mix with this. I'm testing a number of different workflows, but if you have any thoughts on this, it would be appreciated too.

 

[James Brundige]

If your edit system is fast enough, it can play all of these in real time. ProRes422 HQ is a great codec for all your other sources. If you are going to broadcast, you can turn the RD3's into ProRes as well, though that does take time to color correct and render. (Red Rushes has made that a great overnight project.)

I'm wrestling with Nikon time lapse as well. Would love to hear any suggestions.

 

[Redolutionary]

I think it depends on you're delivery spec and the majority of the footage as to what time line you choose and render the other footage to match. Also keep in mind you dont want to downres and then upres for delivery so factor in the workflow of re compressing the minority footage for online/conform to master process if the delivery resolution is in between.

I just finished a mixed project like this. The majority was Varicam and HVX so i just dropped my red proxies in and rendered. Delivery was 1080 so we up-resed the 720 DVCPRO and down-resed the chosen RED selects to meet in a new sequence for master. Either way I say save time converting the minority and pull them into a timeline with the majority footage. If they are relatively equal, let you're delivery spec decide.

as far as the still shot time-lapse, we compile them through quicktime pro, then render the the appropriate format. Sometimes we batch process them through photoshop before to get the desired look or crop... Quicktime will import at the native size so batch photoshoping to delivery resolution and crop right off the bat saves render time down the line. That being said we had some cool results from compiling and compressing in native aspect ratio and then scanning up or across or even slow zoom emulating a push in, all in FCP. needs..the right time-lapse but done right it adds the the shot!

 

[HD Hildebrand]

Okay, this is driving me insane. Here is the thing; as mentioned, I'm cutting a ton of Red footage mixed with a medium amount of HVX200 and EX1 footage (still adds up to quite a bit when it comes to volume of raw footage though) and a relatively large chunk of DSLR timelapse footage.

I have an 8-core with 8gbs of ram, yet will need to render clips for smooth playback. H proxies need render for smooth playback, so that means I need to go down to M proxies, then replace with H proxies later or edl/xml out. If I do M Proxies, export xml, do the Crimson thing, Crimson won't deal with my non-R3D files. On top of all that color won't deal with still images on the sequence. I could force those DSLR clips to Quicktime, but that just means loss and more of a pain. What a mess.

I could convert footage all to ProRes, but 17tb of R3D footage could take weeks. Is this really my only option?

 

[Joel Kaye]

Okay, this is driving me insane.

I could convert footage all to ProRes, but 17tb of R3D footage could take weeks. Is this really my only option?

The still photos will need to be rendered before you can work with them in Color so you may as well start doing that.

I think your best bet may be to create some Red Proxy only timelines and do a really rough selection cut to reduce the amount of footage you need to convert. Then do the Crimson thing to get them back as ProRes. Then do your real edit with ProRes. If the HVX and EX1 clips don't work in Color without being converted to ProRes I'd do the same with those.

Yeah... a lot of rendering but I'm not sure how else it could work. Or beg for an Alpha copy of the R3D plugin for Premiere and see if you can drop all those files on a Premiere timeline. At least the R3d's would be native.