Sending cuts to editor without having to send full R3D's

[Lee M]

I want to start using someone to do my editing remotely and need some advice on the best way to provide them the right files.

I am filming mostly in 6K and my first step of editing is selecting the scenes/parts that are worthy of using and then clipping them down in premiere either marking them with a color or deleting the bad footage (from premiere). My computer is fast enough to handle the raw r3d's in 1/8 quality for this process.

My questions are:
1. Can I export the shorter cut R3D's somehow in Premiere that I would be able to do in RED Cine-X or somehow easily let Cine-X know the cuts?

2. Would it be better to do the clip selection in Cine-X using the "Split clip at the scrubber position" and then save the good cut clips as R3D's to provide to the editor? The only issue I see here is that the R3D's are pretty big, even if it's let's say 10 min worth instead of 60. Also is there a keyboard shortcut or alternative in Cine-X to split the clip or do I have to press the icon at the bottom right every time?

3. Should I just provide the editor Prores proxies and then line them up to the R3D files when he sends back the edit? The issue I see with this is that I'd be sending him the prores files ungraded and the ISO and WB could be off and require adjusting of the R3D after, or I suppose he can just brighten them up in premiere without using the Raw R3D but I rather him do the grading then have to do it myself later with the R3D's

4. Would Adobe team project be ideal for this type of situation? I never really looked into it but I am assuming he would still have to receive the large R3D files for this.

Any suggestions on the workflow for remote editing would be great. I am pretty much only looking to do the scene selection cuts and have the editor put everything together, do transitions, grading, etc.

 

[Marcus Friedlander]

1. Yes, but you shouldn't. Skip question 2 entirely and just do what you said in question 3. If you aren't familiar with the specifics of that workflow, just google "Premiere Pro Roundtrip" and you'll find a tutorial that'll walk you through all the steps. (The single most important tip is to make sure the editor doesn't rename the clips you send. As long as the proxies have the EXACT same name, except for the suffix of course, your conform will carry over.)



To get around the color issues you presented, you can either...

1) Spend the time doing a basic dailies color grade before you render proxies (which is what I recommend).

2) Use a "show" LUT. Meaning one LUT for the entire timeline. (and you can attach the LUts to the R3D either in camera for DSMC2's so you can see it while you're shooting, or just add it in Premiere in post. Or RCX too if you to add a third piece of software to the workflow for whatever reason.)

2.5) Or, you can spend the time to pick a LUT on a scene by scene or shot by shot basis to be more specific.

Either way all you need to do is send the proxies over to the editor with the color grade or LUT baked in, and they can do the rest.



Also, if they want to brighten something during the edit, that's totally fine, and you should let them. If it helps them focus on the story and performance while they work then great! Especially because when they send it back to you for relinking, the temporary correction the editor made goes away in a completely non-destructive manner.

 

[Lee M]

Thanks Marcus! If they are doing most of the grading, can I just send them a version with the proper white balance and make sure the ISO is perhaps even higher than it needs to be (without clipping) since I am assuming it is easier to make it darker than brighter?

 

[Marcus Friedlander]

Thanks Marcus! If they are doing most of the grading, can I just send them a version with the proper white balance and make sure the ISO is perhaps even higher than it needs to be (without clipping) since I am assuming it is easier to make it darker than brighter?

Yes and you are also correct in thinking you should be higher rather than lower.

However, if they are doing the color grade, you should be giving them Prores 4444 not Prores proxy. But the rest still applies.

 

[Lee M]

Also does anyone know how I can adjust raw meta data such as ISO of the R3D's in bulk in premiere without having to click the master file in the effects tab one by one per R3D?

 

[Lee M]

Instead of doing option #3 with the R3D's should I just convert all the cuts to a single 422 Prores file which will now be my master file (no more R3D's) and then make the editor a 422 proxy with a 1/4 resolution or less for editing and coloring whom can then simply send me back the premiere project file? Seems like the best solution but not sure