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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 :)

Proper way to online RED after editing in offline?

AnthonyFaust

AnthonyFaust

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Hello everyone,

This is my first post so I'm very excited to be a part of the RED User team. Here's my situation. I have a brand new Mac Pro. Here are the specs.

- one quad-core 2.8 ghz
- 3 gigs of RAM
- FCP 6.0.6
- I downloaded the latest version of the RED Plugin from red.com.

I have some RED footage. I brought it into FCP using Log and Transfer. It cut down the 4K footage to 2K (which I knew would happen). I had it brought in as Apple ProRes 422 HQ. I edited the material.

Now, I want to export this sequence at the native 4K that it was shot in. How do I go back to 4K since the sequence I have now is in 2K using the Apple ProRes HQ codec.

In other words, I understand the part about transcoding it to Apple ProRes HQ and cutting it down to 2K for offline editing purposes. I'm just trying to figure out how you properly go back to the 4K native files for onlining purposes.

Thanks,
Anthony
 
How do you want to online?
 
Michael,

I want to online it to an uncompressed QT movie at its native resolution. From that QT movie, I can create whatever I want. I can dump it down to an uncompressed 2K QT, an mp4 which I would put on my iPhone, an H.264 2K version that I could play back on my computer, etc.

From my understanding, you can export the Apple ProRes HQ files (the offline files for editing purposes) from FCP and that can be the final output. But the question is, is that the highest quality the files could be?

Any thoughts?
 
OK - ClipFinder is a tool to get you to an online, and an uncompressed QT is the master deliverable. The question is do you plan on mastering in FCP, Color, smoke, other?

Michael
 
Michael,

I plan on sending the 4K uncompressed file from FCP to AE for color grading. From AE, I'd send it back to FCP for sound design, music, and titles. From there, I'd export it as a final 4K uncompressed QT. That would be my master. From that I'd create a 2K uncompressed QT that I'd use to create an HDCAM tape out of.

Do I still need ClipFinder? How does it work? Is it a standalone application or does it work inside FCP as a plugin?
 
Unless you have an extremely fast RAID system to work with, on-lining with uncompressed video is slow and cumbersome at best and in many cases, totally unworkable.

Personally, I would recommend using Hans-Georg Daun's excellent Clipfinder 2.5 software ($100 from his website and worth every penny) to conform your off-line edit to the R3D files and send it to Redcine-X for a 1-light grade and render. Render out to the frame size of your choice at full debayer and use the ProRes 4444 codec. While still compressed, it's an excellent on-line quality codec that preserves the 4:4:4 subsampling from the original R3D footage and will play back at acceptable speeds even on most modern computers.

Finally, drop your final renders into the application of your choice (Color, AE, etc.) and do your final color tweaking there.
 
Nick,

I'm curious. Is this how everyone makes online files with R3D files? By using Clipfinder?

Also, when you say render out to the frame size of my choice, you mean export it from FCP as a 4K file into AE?
 
Since when is FCP doing 4K?
 
Also the fact that FCP does not work at 4K (correct me if I'm wrong), so you need to decide on how important 4K is to the mastering process or find a different system that supports 4K.

Michael
 
MichaelP said:
Also the fact that FCP does not work at 4K (correct me if I'm wrong), so you need to decide on how important 4K is to the mastering process or find a different system that supports 4K.

Michael
Click to expand...

Urrr... sorry but you're wrong. FCP does do 4K, since FCP7.

Cheers,
Damien
 
Well, maybe it does 4K, but you can't seriously work with it.
 
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