VFX workflow for Camera Tracking in 3DEqualizer (RED ONE MX)

[Amrit Hothi]

Hi Guys,

Need some help. I have recently purchased a Red ONE MX and would like to camera track some 4k footage from it.
Usually, with Canon ML RAW, I would just transcode to an image sequence from the 14bit RAW DNG files to EXR's.

With red footage, I believe it's lossy compressed, so how should I tackle this for camera tracking in 3D Equalizer?
Do I bake in any changes first to the red footage first? Is it normal to transcode RED footage to EXR for VFX work?

Any help is greatly appreciated.

Thanks

 

[M Most]

In the high end VFX world, it is normal to transcode ANY camera original format to EXR for VFX work. In most cases it is delivered in linear or linear ACES colorspace.

 

[martinnoweck]

Is there any advantage in using the R3D directly for pulling a greenscreen key?

best wishes and kind regards,
martin

 

[Marc Hutchings]

exrs are more thn fine for keying greenscreens, pretty much everything we get are exr or dpx.

 

[Björn Benckert]

For 3D synthyes I just transcode rec709 jpgs with low compression for tracking. Better than using heavy EXR or DPX files. Then when composting such heavy files can be used but for good playback and high resolution you want to stay jpg while tracking.

 

[paulherrin]

i guess the nice thing about having the r3d on hand for chroma-keying is that you can adjust ISO and other parameters to more finely tune parts of the image... otherwise (depending on the compression used) you're probably okay anyways.