Projects using mixed (RED, Phantom, 7D) footage, and new to the RED workflow.

[Jon Howe]

My current project is one which combines footage from all over the place from different sources and using different cameras. We have RED, Phantom and 7D footage and I'm trying to make it all work. I'm fairly new to using REDCine-X as most of my previous RED projects have just gone ProRes444>FCP>Color.

Can someone teach me (or is there a good place for me to learn) how to go REDCineX>FCP7>REDCineX? I've read the FCP whitepaper, and I've read some of the threads here but I'm having a hard time getting my brain around it. Then, throw in the multiple source formats and now I'm flummoxed. I'd love any advice you guys could give me.

Thanks!

 

[Alvise Tedesco]

Maybe this helps http://vimeo.com/28616481

 

[Jon Howe]

Sweet! Thanks!

Will having Phantom or 7D footage mess up my XML import into RedCine-X?

 

[Marc Wielage]

There are a number of ways to approach this kind of workflow. If this is for a television delivery, what's worked for me in the past is to find a common file format that will work for the people conforming the show for color-correction. Many, many times I've had situations where projects were shot on Red, Sony, Canon, even some film, and all dumped into one project. Sometimes, DPX 10-bit log is a good common denominator; sometimes, Rec709 (with nothing crushed or clipped) can work, assuming a Rec709 delivery.

How is this being color corrected? To me, that dictates your choice of file formats, since not all color-correction devices can deal with multiple resolutions, different frame rates, different color spaces, and so on. More and more of them can, but for projects of a certain budget, I think it's often best to keep things as simple as possible, just to streamline and speed up the workflow.

 

[Jon Howe]

Well, I'm planning on coloring it in Color. I've used RedCine-X to create lower res ProRes files for me to edit in FCP. I've converted my 7D stuff and Phantom stuff to ProRes as well. The thing I'm worried about is, when I send it back out to RedCine-X to conform back to my R3D's, what will happen with the 7D and Phantom stuff before I send it to color?

 

[tobyheslop]

That's a great question being asked.

I just completed a project using mixed formats of the same kind as originally posted in this topic. I wasn't sure about reconforming a mixed format timeline so I just kept everything as ProRes 444 as we transitioned to the grading process.

But I sure would love to know more on the topic of the original question asked as to reconforming the R3D's along with other mixed formats and FX shots, for readying to grade.

 

[eric schneider]

Hi John, did you ever find a solution to this? Am curious if you attempted go back in Redcine-x via xml with the Canon and Phantom footage. I am in a similar situation. Cheers!