VFX Workflow - NEW USER/EDITOR

[Anthony Cox]

I need help as this is my first time editing RED with VFX.

I need to know a basic workflow for VFX and GRADING.

At current, I am editing in FCP using ProRes Transcoded Proxies out of REDCINE-X.

We are doing the GRADE in Apple Color.

Some shots are required for VFX. I'm confused if the grade comes after or before compositing the VFX shots?

I have an OFFLINE Picture locked, what is the next step? My understanding is:

Export XML of Timeline with all shots to be supplied to VFX.

Import XML into REDCINE-X.

Export relevant shots to VFX choice format.

Conform the final online sequence in FCP. Send to Color.

Roundtrip in Color back to FCP.

What I am confused if, if I export the RED file to the VFX artist as another format, DPX, OpenEXR etc., will it retain the RAW data so when it open in Color the DOP can grade it using the three channels?

Please help!

Anthony

 

[Ben Brainerd]

You've got a couple of choices as far as VFX workflows go using the FCP->Color finishing process. First I'll answer your final question:

No. Exporting to DPX/EXR/Whatever bakes in the metadata, you'll no longer have access to the RAW.

That said, there are a couple ways to work with it. I've used variations of all of these workflows. They're not the be all/end all, just what's worked for me.

Workflow #1: (VFX/Grade in DPX)
Export your offline edit to XML, load it into RC-X and do a one-light pass. Render to DPX, send the relevant shots to the VFX crew. Take the VFX finished DPXs, combine them with the other DPXs you rendered at the beginning, grade the whole film.

Workflow #2: (Proxy VFX)
Depending on the nature of your FX, it might be possible to send the FX artist ProRes (or whatever) proxies for their initial build. Then do the whole reconform thing and grade the entire film using RAW in Color. Send the final renders of the FX shots to the VFX crew, have them swap their plates and run off final renders.

Workflow #3: (Mixed Media)
Render your VFX pull list as DPX, send it to the VFX crew. Get their finals back, mix them in with the RAW files, send to Color. This workflow could also be titled "Make your Colorist Homicidal" and is not recommended.