Transcoding ProRes HQ Options

[cbreiner]

I'm an editor gearing up for a RED edit. Obviously there are a lot of options for almost every step of the process. I'm planning on Transcoding to ProRes 2K and edit and finish using those files. My question is this what are the pros and cons to each transcoding option, (RedCine, Clipfinder, RedRushers, FCP Log and Transfer, RedAlert etc.).

 

[joe hedge]

Is the footage already shot and backed up to drives?

What machine(s) will be doing the transcoding?

 

[cbreiner]

We haven't started shooting yet, I'm just doing preliminary research before we get that far. We'll be working on a Mac Pro 8 core.

 

[Matthew Riggieri]

if you are looking to finish from those files..you are severely handicaping your quality. Prores HQ is limited to 4:2:2. You should offline using ProRes SQ and then conform back to the r3d's and finsih from those or DPX frames. Only way to fully utilize camera and its full range.

Also if you want to finish from your offline files, then you will need to do a full debayer on all of the footage and you are looking at a 20 to 1 transcode rate. does not really make sense, not if you are planning editing anytime soon. 1 hour of footage take 20 hours, so if you shoot 10-20 hours your transcoding for 200 to 400 hours...

 

[joe hedge]

Transcode everything to 720, half res (standard) debayer, ProRes SQ in RedRushes. Edit, then up res the shots in the edit to 2k full res debayer, ProRes HQ. Take those into Color. Yes of course there are other workflows but we're talking about finishing with the Prores files, not a DI. Happens all the time and perfectly acceptable.

 

[M Most]

We haven't started shooting yet, I'm just doing preliminary research before we get that far. We'll be working on a Mac Pro 8 core.

You haven't said what you are delivering. The answer to that determines the appropriate ways to get there.

 

[Matthew Riggieri]

very true most..filmout is way different then delivering for broadcast which is different then DCP and far different for web.

we almost always go to DPX files for anything that is destined for DVD/broadcast.

Also i do not see the reasonf or going to 2K. If finishing for broadcast go 1080P and if you are finishing for film/theater go 4K and a 2k downsample for DCP creation

 

[joe hedge]

All he's asking about, though, is transcoding to 2k and finishing with those files. Many times, believe it or not, producers do not know what they're going to be finishing on before they start shooting. Or they want 2k files to edit with for as best looking a cut as possible for a presentation reel for raising money for the DI. Not everyone has the money for the highest quality finish possible - the workflows outlined By Michael Cioni and others in this thread are a good place to start...

http://reduser.net/forum/showthread.php?t=29009&page=2

 

[Michael Cioni]

Transcoding

Transcoding

Breiner-
PM me and I'll be happy to discuss whatever information you do have regarding the project. From that information, we'll be able to determine the perfect workflow sequence that will take advantage of your resources and prepare you for a customized, ideal delivery.
best,
michael

 

[Paul Dymon]

Shoot 4K, work 2K, finish R3D including Color at 4K, output image sequence for print to film. Can't use any effects because you can't render the 2K material. Do FX in AfterEffects, but pay attention to timecode etc.
Paul

 

[Michael Thornton]

I'm an editor gearing up for a RED edit. Obviously there are a lot of options for almost every step of the process. I'm planning on Transcoding to ProRes 2K and edit and finish using those files. My question is this what are the pros and cons to each transcoding option, (RedCine, Clipfinder, RedRushers, FCP Log and Transfer, RedAlert etc.).

Breiner-
PM me and I'll be happy to discuss whatever information you do have regarding the project. From that information, we'll be able to determine the perfect workflow sequence that will take advantage of your resources and prepare you for a customized, ideal delivery.
best,
michael

delivery is the key here, there is no one workflow that fit all.

Listen to MR. Cioni

He's the master at this.

Tek

 

[Uli Plank]

…, finish R3D including Color at 4K,

Color can't handle 4K (yet?).