What is the best workflow for a feature

[RikiButland]

I am sure this has been asked many times before.
However, what is the best workflow for a feature, traditionally the editor does his job, then I would go and grade the DI and then go out to print and recheck the grade on the final print.
So now I would like to stay r3d files all the way until final print, so would I edit in premiere pro then output to either resolve or lustre, then go out to print.
Is it an easy workflow to go from premiere pro to resolve or lustre or even base light for that matter.
Before I did everything in fcp then out through colour or lustre

thank you for your help in advance

 

[RivaiC]

Hi Riki

R3D is proprietary format, you can only output to the same R3D structure in RedCine-X/Pro version. So if you have finish your DI session, you cannot output to R3D files again. Most people will output as DPX files 10 bit lin/log.

As feature film workflow question. You've got to take a look carefully at the post facilities. Editing R3D in offline session (feature film) is not the norm, simply because the huge accumulation of terabyte after months of shooting, it becomes not practical to edit straight with R3D in feature film project. TV Commercial or any short form projects are fine but not for feature. You're going to waste lots of CPU power just for playback and debayering, multiple layers, etc. it isnt practical. Most people will encode it to whatever codec that the NLE can accept. Eg. DNxHD for Avid and Apple Prores for FCP / Premiere.

After you have finish your offline, you can take your XML to Davinci and have it conform and do your DI session, output DPX and send for print. That will also depends on your film lab calibration. The post house and the kine/film lab needs to talk to each other, whether you want to work on Film LUT target (kodak, fuji, etc) or Rec709. There's a good comprehensive discussion on board, that will help you to understand the DI workflow, talk to your colorist and film lab facilities. This will play the big part on your feature..it cannot screw up.

http://reduser.net/forum/showthread...of-CC-workflow%92s-Film-Log-vs.-Linear-REC709

All DI software will allow you to load EDL, so that wont be a problem. But XML support is good in Davinci. You need to post conform your encoded quicktime to the RAW files for final DI grade. Output DPX and send for print if you dont have any online session in your movie.

Hope it helps
Rivai

 

[M Most]

All DI software will allow you to load EDL, so that wont be a problem. But XML support is good in Davinci. You need to post conform your encoded quicktime to the RAW files for final DI grade. Output DPX and send for print if you dont have any online session in your movie.

XML is a general purpose file format. The specific flavor of XML you're talking about is Final Cut specific. If you cut with an Avid, you would output AAF as a metadata rich format. For full support of that format in Resolve (including all transforms, very useful when your source is a compressed 4K image like it is with Red), you need the upcoming version 8.1.

 

[RivaiC]

XML is a general purpose file format. The specific flavor of XML you're talking about is Final Cut specific. If you cut with an Avid, you would output AAF as a metadata rich format. For full support of that format in Resolve (including all transforms, very useful when your source is a compressed 4K image like it is with Red), you need the upcoming version 8.1.

Thanks Mike, davinci 8.1 is very close to release now, hope its worth the wait. Good point on xml format, yes the one that I'm talking about is fcp xml.

EDIT: Riki, if you are serious about maintaining one master files for all session that allow you to read write. You can take a look at Cineform solution. It will do what you desire to do

Rivai