Seeking advice about workflow

[office@sif309]

We would like to shoot a feature film on RED in 4k - with raw material of 25 hours. Could you recommend to us the correct computer setup if we would like to use a Mac? Please also see the workflow chart attached to this post.

1. Is the workflow correct (in the chart attached) - for shooting in 4k and finalizing on 35 mm negative or DI 4k?
2. We would like to work only under MAC OS, can we use only MAC programs - Cine and Alert and Final Cut Studio?
3. Could you recommend for each of the steps the right approach, setup and min equipment as a performance for normal fast work on a feature film?
4. The biggest problem we have is after final editing in Final Cut Studio with exported ProRess files from RED CINE: After final editing, we export EDL or XML file, how do we conform with the original 4k .R3D files in one of the two programs Cine or Alert (without using Scratch) and from then on to export the final 4k material to DPX files 4K logarithmic files?
5. How do we synchronize the sound and the video after Color Grading for the final film?
6. Can we NOT export ProRess from RED Cine, but instead work with proxy files 1k(2K or HD), and then after the final editing to export EDL? Do you think in RED Cine it will conform with the right 4k .R3D pieces, if we did not export from it?

7. When we try to open R3D files in RED ALERT, it closes without giving any message. Any ideas?
8. After we installed the Quicktime plug-in it doesn't open the proxy files of the 4k material, but only of the 2k material. Any suggestions?
9. We installed the RED CODE, but we cannot see it in the sequence settings as a work option. Any ideas?
10. In Final Cut Pro, we open the proxy 1k files (from a 4k material), but it is only halfway normal, the lower half of the frame is damaged. Any ideas?
11. According to our estimates, the exporting of the whole material for a feature film to DPX files takes an enormous amount of time. Is that really so, or are we doing something wrong?
12. DPX or Tiff files at 2K or 4K, and then match (where) that media to your EDL for grading and finishing in any DI software - Where is this process done?

Thank you so much in advance for any suggestions or recommendations!

 

[Gunleik Groven]

Not having a red yet, I may be prone to faults, but I'll soon be corrected.

As to all your oddities, they are due to you shooting 16:9 and not 2:1 aspect. 16:9 is not fully supported yet...

Shoot aspect 2:1 and yor proxies anr RA problems should be gone.
This is annoying and is supposedly soon to be fixed.

When you shoot 2:1 (or the stuff is fixed) there's nothing stopping you from doing the edits directly from the proxies.

The edl/pull-list/xml thing is bugging all of us (except from luki, who thinks its not a problem, because Scratch fixes it...), but IanBloom has a nice tool in the works.

Check this thread:
http://www.reduser.net/forum/showthread.php?t=9202

and contact iBloom with a PM.


As to horsepower...
I'd take a chat with laguun, but it's pure throughput calculus...
How much time are you prepared to use for the one-light/convert, and if you're onlining @ 10 bits 4k dpx...

Some people have issues with TC consistency when working with DPXs, but I think that might be a workflow issue that iBlooms tool will take care of (praying here..)
http://www.reduser.net/forum/showthread.php?t=8934


Laguun has this down (for realtime workflow)

pm him.
http://www.reduser.net/forum/showpost.php?p=160707&postcount=75

OffHollywood also have the filmout workflow going, but they're using Scratch.

Your workflow chart seems right.
If you want audio off camera, the proxies are the only way to get it @ the moment. (I know you wrote "from DAT", but just as a reminder, if you decide to slap on a mic one day for that very special occation)

Gunleik

 

[office@sif309]

Dear Gunleik, thank you so much for taking the time to reply. We checked all the references you gave us. Hopefully it will help, but still working on a lot of issues Best of luck with your projects!