Moire / Interlacing Issues in 4k R3D files

[Graeme Nattress]

Jon, from what you described here, it sounds like your colorist is grading using the ProRes transcodes and NOT the original 4K R3D files. That is your problem.

- actually, his problem is that the proRes transcodes were apparently made incorrectly with a low resolution decode. Mike, although going with the R3D can produce best results, going to DPX or proRes can produce more than acceptable results with zero moire issues.

To reiterate the point about the R3D's though, in reference to John's comment: " Finally, the lab requested the 4k footage to review and they determined that the moire is in the 4k footage. " - that is incorrect. There is no moire in the 4k footage at all. None. If the lab is saying that, then they themselves are also doing something wrong.

Graeme

 

[Hrvoje Simic]

Jon, from what you described here, it sounds like your colorist is grading using the ProRes transcodes and NOT the original 4K R3D files. That is your problem. One, you're losing detail by using the transcodes. Two, you're completely losing all the benefits of shooting RAW. I'm a colorist myself and I ALWAYS conform back to the R3D for the color grade. That will result in a MUCH better quality master in the end, even if you only master at 1080p. Bottom line, make sure your colorist is grading with R3D's. If he's not, tell him you need him to do that or get a new colorist. That's my opinion.

While there are obvious benefits in using r3d material all the way to the final coloring process if the workflow allows it, it would be important to mention that through properly used Prores route many benefits of raw acquisition are not lost, just the workflow gets re-organized.

Many times colorist is not the one who decides which type of material he will get.
Although there is slight generation loss, Prores 4444 is pretty usable for grading and this choice often helps the workflow in types of projects where practicality and agility are a priority.

 

[Jeff Kilgroe]

Grading from DPX is perfectly acceptable and fine -- a great many Hollywood features have been scanned from film and pushed through a 10bit DPX based DI process for color and finish. 16bit DPX is even better and ProRes 4444 is also an acceptable option. All of these methods are fine, provided the original transcode from the R3D source media is done properly.

I've seen workflows take R3D source files all the way to finish and botch it there too. Personally, I like to ride the R3D train as far as I can into the post process, or maintain working directly with original source files, no matter what format, as long as I can. That's not to say other workflows are any less valid. And it's only been very recently that we could push R3D source material through end to end post production, as it's taken time for the software support and hardware abilities to mature to such a point.