Visualisation possible workflows

[Ed van der Kruijssen]

uncompressed workflow

uncompressed workflow

Hi Dip again,
If you own IQ and I assume PABLO why do you need a indie workflow?
Your a major player in the post business and have already spent big
bucks. Just get a basic (cheap) version of Scratch now to handle R3d
data, conform up and send it off to IQ in whatever DPX flavour required.
Use FCP as is now to offline (no R3d upgrade required), Scratch will do the rest.
45 days to convert 15 hours of R3d to DPX.......man.
World of pain dude.

In the first place because we bought alo a Red #1089. Secondly we have quite some clients who like to finish and grade with a talented and skilled colorists on our Quantel. But they are also used to and like to make the off- line themselves. That's the reason that we are more then interested to find a proper workflow.

And yes indeed perpaps the conclusion must be that at this moment it's not realistic to set up an uncompressed 4K workflow for features.

 

[ChristopherKenworthy]

Hi Chris ,
Now render out to 2K dpx.
If you have transitions, are they 8 bit?
Mezmo.

Hi Mezmo,
Haven't tried it, but my instinct when doing transitions or reframing would be to take 4K DPX (from Red Alert) straight into After Effets and do the work there. So, not a pure FCP workflow, but I believe this would work. Still in the very early days of testing, of course.

 

[mezmo]

Hi Mezmo,
Haven't tried it, but my instinct when doing transitions or reframing would be to take 4K DPX (from Red Alert) straight into After Effets and do the work there. So, not a pure FCP workflow, but I believe this would work. Still in the very early days of testing, of course.

Hi Chris,
You can also do this in Shake, don't have the workaround but it's apparently
doable. Doing it all in FCP2or3 would be the fastest and most trouble free solution with the 50,000 odd DPX frames required to post a feature film.
Mezmo

 

[mezmo]

Yeah I doubt it to be honest...but Moore's law is still ticking along and we'd be fools to rule it out in a couple of years...by then Red will be selling 4K monitors *rolls eyes*

It's not really necessary though. As Ylem and others point out so well is that for us indies...a 4K out isn't really necessary. We pay the bills doing TVCs and music videos that presently all end up SD broadcast and nothing more than an HD master is necessary...but keep the lovely 35mm DOF etc etc etc

Then when we make our big breakout feature film to try to sell... well we'll do what Robert Rodriguez did and deliver in a format that we KNOW we can deliver in... a beautifully graded 1080P version is lightyears ahead of what he had to work with, and we know we've got our glorious 4K files sitting backed-up ready and waiting. When our movie catches the right people's attention, THOSE people can pay to get the 4K version made and lasered onto 35mm etc.

Hi Myktyl,
If your considering 1080p take a look a Speedgrade HD it will compile, grade
and render out DPX files from a 1080p master and it's about the same price
as Red one.
A feature film project finished out to 35mm film intended for theatricial release will always attract more potential buyers than a HD project finished to tape.
Such a thing can be sold NOW in markets around the world for good $$$$cash money
to you the producers and investors.
Not every film will be a Redriguez masterpiece, but you still need to sell it out there
in the real world.

Mezmo
.

 

[Mike McCarthy]

Hi Chris,
You can also do this in Shake, don't have the workaround but it's apparently
doable. Doing it all in FCP2or3 would be the fastest and most trouble free solution with the 50,000 odd DPX frames required to post a feature film.
Mezmo

Feature films are closer to 150,000 frames, at 86400 frames per hour. Lots of TBs if you are at 4K.

 

[mezmo]

Hi McCarthy,
Yes sorry left a 1 out, my last film was about 144,000.
thanks mezmo