Question for FCP Workflow

[Philipp Wolter]

Just wondering if anyone can help me out. When using Log and Transfer to convert to Apple ProRes HQ I get a 2048 X 1152 Frame size. In the RED Whitepaper it talks about setting up your sequence to 2048 X 1048 however.

I know this is for film output. Is that the way to edit - having the black borders on both sides of the screen? Furthermore, the image needs to be resized which adds more rendering time. Would be great if anyone could help out.

 

[Uli Plank]

Since you can shoot in different formats on the RED, the whitepaper is only giving you one example. Some other formats are mentioned as "not tested", but HD 16:9 in 25p works fine for me. So, just set you timeline according to your source.

Beware, though: 3K is still a PITA in FCS …

 

[Laura Creecy]

I believe that means the DP shot in 16x9 not 2:1 aspect ratio. Someone correct me if I am wrong. 2:1 is 2048x1024.

You should set your sequence settings to match the frame size of the footage transcoded with Log and Transfer but should be able to follow the other steps on the white paper.

 

[Philipp Wolter]

Thanks, guys. What is usually recommended? 2:1 or 16:9? I think Film is 2:1, correct?

 

[Michael Cioni]

Bob-
Technically there is no correct aspect ratio to shooting Red and planning for film. However, when it comes to resolution, most films are distributed in 1:85:1 or 2:35:1. If you are mastering in 1:85:1, a 2:1 Red 4K>2K image will not fit in 1:85 correctly, as it has LESS vertical resolution than the negative. You will have to add a 12% scale to the image to fill in the letterboxing at the top and bottom (this is similar to the difference between 1024 vertical and 1080).
If you are mastering in 2:35:1, a 2:1 Red 4K>2K image will fit fine, as it has MORE vertical resolution than the negative. You will add a cropping to the top and bottom and end up with about 800 vertical lines of resolution.

If you shoot 4K 16:9, you can't go wrong. And since Final Cut will allow for an easy render to 16:9 in 1080p, you can easily use RedRushes to transcode the files to 1920x1080sF for full aperature offline editorial. No mattes, no letterboxing, no pillarboxing. Then you can re-frame using gradicals for the 1:85, 2:35, etc. output.
Make sense?
michael

 

[Matt Gottshalk]

Great explanation Michael thanks!