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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 :)

Red, FCP, Color, NUKE, Cinema4d workflow question

S

Sarin

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hey! Guys

Im in the process of figuring out my workflow and softwares to use ...

I have been reading the red whitepapers about FCP workflow and ive decided im going to Work Offline Using Apple ProRes;
Reconform to Native RED QuickTime Media in Final Cut Pro... and then color with the native red quicktime media...

My question is.. if I want to add 3d or do some compositing to some of my shots... where in this process is the best to do that? and how to go about doing it?

My final output is going to be HD for now.. but we want to render final in 4K and then in the end render down to HD...
So all the 3d and compositing would have to be done in 4k resolution,

the ProRes files Im gonna render to edit offline is going to be 2k ... so I cant use that for compositing/3d ...

Should I render separate 4k files for 3d/compositing?

I hope my questions make sense.

__________________
http://www.sarinphoto.com ( Nashville Photographer )
 
Go CS5!
 
In my opinion, the best point at which to start composting would be after your best-light grade (Primary grade in Color's terms).

Basically, do your offline, lock your edit and then do your best-light in Color (since that's the software you've chosen). From there, send renders (my choice would be DPX) to your compositors and 3D folk. Once they are complete, have the compositors send back to you DPX files (keeping color space the same across the board) and conform those back into Color for a final Secondary color pass.

One note, be ready for what will be enormous render times for both your compositors and 3D artists if you require them to finish in 4k resolution.
 
Nuke can read R3Ds natively, so you might consider using R3D trimming, now it is available, and sending the compositors the RAW media.

But worth noting that Nuke (nor anything else except Color as far as I'm aware) won't read QuickTime wrapped R3Ds as RAW. It needs actual R3D files. I would therefore not recommend using a log and transfer workflow.
 
Why 4K for a music video? Just curious…

Time warping must be baked, only constant speed changes transfer reliably. Baking is not possible in 4K or RAW. Catch 22 …
 
You should be fine finishing in 2K, only using the original files for zooming in.
 
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