RED One / FCP / Redcine / Color / Resolve workflow questions (LONG)

[Luke Holwerda]

That was a more helpful response. Thank you.

Still, at this point I AM just asking questions. I have to start somewhere. I do know people who work in sound, so I'm not completely dead in the water on that front, but I needed to at least know how to start. Which was where my questions originated.

You can draw up your own plans (instead of hiring an architect), you can put up the frame and hammer the nails (instead of hiring a carpenter), you can mix and pour your own concrete (instead of hiring a foundation expert)

True... but then at some point, if I'm not doing ANY of the work myself, why even make a movie? How will I ever learn? Why not just watch whatever crap goes straight to DVD, and save a ton of money and time? There is always someone better or more experienced at everything...

And remember, sometimes, hiring good people early on will save you money, especially in post.

I'm not entirely against getting help... I just need to START with something. I'm fairly resourceful and not completely unfamiliar with this process, I just needed help on a few specific details.

 

[Luke Holwerda]

Here's what I'm thinking my workflow will be, so far:

1. Edit in FCP using proxies
2. XML to Redcine-X for color correction (One reel at a time. Conform to R3D's)
3. Transcode to 2k Prores 4444
4. Import to FCP
5. XML to Resolve for grading
6. Render 2k (And 1080?)
7. Back to FCP for final export

Sound will be tackled/synced after film is cut. (This appears to be a fairly standard approach at least)

A few remaining questions:

1. Transcoding to 2k from Redcine-X... am I missing the option to transcode clips in the timeline to separate, individual files?

2. If I move forward with a 2k workflow, at what step do I transcode/convert/shrink/export down to 1080? When is it best to retain the most detail. In my head it's during the Redcine-X step, but that means I have to transcode, grade, and export everything twice. Is FCP good enough/smart enough to handle this step on the final export? (I'm being picky, but it feels like shrinking a jpeg, instead of reopening a raw file and shrinking that)

3. ProRes 4444 - This is the best option, correct?

 

[Marc Wielage]

True... but then at some point, if I'm not doing ANY of the work myself, why even make a movie? How will I ever learn? Why not just watch whatever crap goes straight to DVD, and save a ton of money and time? There is always someone better or more experienced at everything...

True. But at some point, you gotta let the pros do their job. I know how to put a bandaid on, but I couldn't stitch myself up from a bullet wound or give myself an appendectomy. As Clint Eastwood family said, "a man's gotta know his limitations." I think this is particularly true with final color correction and with the final mix -- and if either of these is done badly, they can get the film rejected by QC.

Get a distributor first before worrying about how to finish the movie. Before then, just do a reasonable 1080 HD pass that will be deliverable in basic Rec709 color space. 422 or 444 will hinge more on the speed of your computer and your editing and color-correction systems. If you wind up needing higher-res files, you can always reconform with the original R3D files using Clipfinder, apply the old color corrections in the right color space, and deliver a 4K version.

Again, hiring an experienced post supervisor and/or taking the Reducation Post seminars can help immensely.

 

[Luke Holwerda]

Sometimes, movies are even harder to make than buildings.

...you gotta let the pros do their job. I know how to put a bandaid on, but I couldn't stitch myself up from a bullet wound or give myself an appendectomy.

You've now compared major surgery and the construction of a building to coloring an indie film. I suppose it's my fault for asking questions though.

Do you happen to know anyone in the sound/color industry I could hire?

 

[Marc Wielage]

You've now compared major surgery and the construction of a building to coloring an indie film.

You're right -- it's a bad comparison. Making an indie film is much harder!

Do you happen to know anyone in the sound/color industry I could hire?

Sure, tons of people, including people here on the group. What area?