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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 :)

Pablo vs Lustre

C

Chris Pickle

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I know, in the end, it's up to the person's abilities, but...

(also, In a perfect world, I'd use EDL to go back to R3Ds, but that's not happening on this project)

so;

Prores through Quantel to Pablo

vs

Prores to DPX to Lustre

Any general thoughts, concerns, issues.

Thanks,
Chris
 
With Lustre the best workflow is the export an edl from each layer separately and then conform those edl's in Luster directly from the R3D files. This is far easier and results in much better finals than what you are suggesting.
 
With pablo quantel is the same thing. It also read the r3d files. I sugest you to teste before the workflow!
take 6 clips red in final for offline export edl... transfer the RED files to quantel storage and link to this files with the EDL.
You need to have both system updated to the last version.
 
digitalfx said:
With Lustre the best workflow is the export an edl from each layer separately and then conform those edl's in Luster directly from the R3D files. This is far easier and results in much better finals than what you are suggesting.
Click to expand...

Not if you don't have the Wiretap with lustre. Without it, your choice then on Lustre, unfortunately, DPX or Tiff.
Otherwise, everything being equal, I would always go with a standard hardware (Lustre, FilmMaster, Resolve, Scratch) and not some proprietary and ridiculously overpriced hardware, like Pablo any time.
 
jake blackstone said:
Not if you don't have the Wiretap with lustre. Without it, your choice then on Lustre, unfortunately, DPX or Tiff.
Otherwise, everything being equal, I would always go with a standard hardware (Lustre, FilmMaster, Resolve, Scratch) and not some proprietary and ridiculously overpriced hardware, like Pablo any time.
Click to expand...

who doesnt have Wiretap? its included with the system.
 
digitalfx said:
who doesnt have Wiretap? its included with the system.
Click to expand...

I don't. Just as I don't have a rack full of blade computers with heat dissipating AC running 24/7. If Autodesk wants to push it's own agenda with Wiretap and not to support Red Rocket, it's their problem.
For RAW grading just give me Resolve on a Mac and I will be on my way.
 
Chris, you only have the prores? you can´t go back to the R3D?
What is the output? HD? filmout?
If you have the prores your colorspace is linear so you can go with tiff sequence(compress none) direct from finalcut or any other.
The place i work have both system, my preference is lustre over pablo because of workflow and tech issues. but as you said..get the best colorist you can work with :sifone:
both systems are great.
 
jake blackstone said:
I don't. Just as I don't have a rack full of blade computers with heat dissipating AC running 24/7. If Autodesk wants to push it's own agenda with Wiretap and not to support Red Rocket, it's their problem.
For RAW grading just give me Resolve on a Mac and I will be on my way.
Click to expand...

Lustre supports Red Rocket as do Flame and Smoke. Wiretap is free, why dont you try it out.
 
digitalfx said:
Lustre supports Red Rocket as do Flame and Smoke. Wiretap is free, why dont you try it out.
Click to expand...

Well, not exactly...
At NAB, Autodesk announced support for the RED Rocket card running in 32bit mode with the 2011 of Smoke on OSX. It can also be installed in a separate MacPro workstation as a gateway so it can stream to Linux based workstations running Smoke, Flame, and Lustre 2011.
With Win 32 version it is back to Wiretap with 10gbe or IB network for half debayer real time performance, which isn't exactly the like plug and play RR support of something like FilmMaster.
Saying Wiretap is free doesn't hide the fact, that a lot of other VERY expensive hardware involved for making this happen. When many users, very soon, will be able to get a decent real time system for under $10k for Mac Resolve, the idea of needing to set up the Wiretap for working with R3D files sounds laughable.
 
luis ignacio barrague said:
Chris, you only have the prores? you can´t go back to the R3D?
What is the output? HD? filmout?
If you have the prores your colorspace is linear so you can go with tiff sequence(compress none) direct from finalcut or any other.
The place i work have both system, my preference is lustre over pablo because of workflow and tech issues. but as you said..get the best colorist you can work with :sifone:
both systems are great.
Click to expand...

Thanks all for the input.

Luis, I could go back, but time & money... :) The project has been in post for the past year and the post tools have changed so fast and frequent. For my budget I had always planned on managing my own 1080s. I spent some decent time on RedAlert to get a great 1080. For almost all deliverables, 1080 will be fine. If I had to do it over again, I'd output EDL, and conform from the R3Ds--maybe on the next project. The other issues is that conforming & grading from R3Ds isn't super easy for budget minded projects. I'm starting to think the money in a better DVD encode would be seen by more people.

Thanks
 
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