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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 :)

Simple Workflow?

D

dvddouglas

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Hi,

I will work on a Red code project for the first time. A Music clip shot on the RED ONE. I Was wondering: what is the best way to work with this 4k footage. There are much shoots in 100 frames who i need to ramp. So a fast editing way would be nice...

* Do i need to use the reference quick times from the camera?
Someone said you couldnt use them...
* Do i need to trans code al the footage to SD and edit it, then before the compositing relink it to the 4k footage?
Do i need to transcode it in Final cut pro?

I just need a simple way to work with the footage, like, do i need to put the reference files into FCP and than transcode it to SD, then edit with the SD? or do i need a Red programm to transcode the footage first?....

What is the best option? This is the first time i work with 4k from the RED ONE. The final output wil be Full HD.

THANKS!
David Douglas
 
Man, this forum is going to chew you alive! All the answers to your questions have already been answered. The search engine sucks so I wish you all the best.
 
Yeah I figured out that the search engine doesn't work properly. Maybe you have a link to a proper work flow? Or some suggestions... Would really help me
 
The simplest way would be to use Red Rushes in FCP to transcode all your files to 2K Prores and just finish with them.

If you check out this thread:

http://www.reduser.net/forum/showthread.php?t=18450&page=6

In it Big T says that he'll post an explanation of his super simple workflow in about a week or so. So that might be something to keep an eye on too.
 
Thanks! for the help.

Right now I am trans coding al the 4k files to ProRes 422 (HQ).

My final export will be just a SD DigiBeta for broadcasting, and a HD quick time for backup.

--Do you think I still need to finish after the offline in ProRes in 4 k? Or is ProRess 422 (HQ) (2048x1152) Good enough for color correction and final export to Uncompressed SD?
--I think the Red one footage looks great! But there is not much saturation in the pictures, and the contrast is very low... Is this normal because its shot in RAW?
Also een still from my footage...

Thanks!
Just wondering....
 
FCP
Crimsom
REDCINE
FCP
Color
Output to anything you want.
 
workflow

workflow

So I realy need crimson to get the best result? Also when its for SD video output?

-First edit the offline with the transferd HD PRO RES 422 files
-then make a EDL and send it to Crimson?
-Then Work with Crimson and Redcine to make the footage 4k again
-Sent it to Collor?
-Output to SD or HD?

So this is the workflow who is the best?

thanks,
David
 
Do you really need crimson to get the best results?
I don't know if it gives me any better results it saves me a few days of work though.
And I don't get jack shit from Ian for saying that.
He just made something cool I needed.

4 complete music videos / workflow begining to end, 3 additional music videos called in last minute to fix errors created by the multiple post production houses in Hollywood. --- All on RED in the last 2 months.


After lots of trail and errors.
Several hours on the phone with RED over various days.
Dozens of emails with everyone and their mom.
Help from Shawn Booth all the way from Hawaii. "thanks Shawn"
Days of experiments.
Weeks of frustration.
And a full new set of gray hair from the stress.

This is the workflow we are comfortable with but not your only option.

First thing we do from the very begining.
We export out our clips to DV from the "m" proxie / reference files.
Retain the file names so Crimson can find them later.
hint open in quick time and export out.

DV quality because its nice, and easy for just about any mac to handle the footage.
No render or proxie lines to deal with.

Edit in FCP, cuts only K.I.S.S. keeping it simple stuiped.
Add transitions later.

export out XML for crimson.

Use Crimson I love that thing, we add 2 second handles.

Get it into REDCINE if its a 100 clip music video, I will save you 2 days of frustration. Keep it under 30 clips per batch 20 to be safe.
2 days of frustration because its 1 day of WTF??? and day 2 you usually find the answer cuz RED was not open at 9pm when you were working on your project.
Do a complete 1 light REDSPACE / Gamma REC 709 once again thanks Cowboy and Graeme Nattress.

Go out to 2K not 4K unless you have to for some REAL reason. PRORES 422HQ unless you have a system that can support 10bit uncompressed.
Get your project back into FCP.
Make sure it matches your original time line.
Do all your standard transitions nothing fancy yet.
Keep it to 1 video track if possible.
Send to Color
Color grade to your hearts content.
Render your footage 2K PRORES 422HQ
send to FCP
Make any additions you may need to.
Export out to anything FCP will allow you to.

Once again this is not the only workflow.
This is just something we have come up with after so much trial and error.

I know a guy who has a Bitchen computer in Hawaii
Super fast hard drives 32GB of ram and I mean a LOADED computer.
Apparently if you have a computer that powerful.
You can pretty much skip everything and export out all the footage to anything you want in REDCINE fast over night.
And work with that footage in FCP never having to go back to conform.

Hope that helps

Good Luck.
 
BigLu said:
First thing we do from the very begining.
We export out our clips to DV from the "m" proxie / reference files.
Retain the file names so Crimson can find them later.
hint open in quick time and export out.
Click to expand...

BigLu,

What do you use to do the batch export to DV?

Thanks,

Harky
 
Harky

just open the M files you can open several say 20 of them
and just go to file export
1 by 1
Compressor might work haven't tried it,
compressor does not like me.
 
Why not try this.

Edit in FCP, either reference QT's or prores made via red rushes.
Create and EDL CMX3600.
Load it into Monkey Extract and hit go. come back when your DPX files are generated
Load EDl and DPX into color,
Grade,
send to FCP to do any dissolves and output to tape.

Any shots that need a tweak in redalert, can be done in another pass on monkey extract.. It's a very fast way to work.
 
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