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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

WHAT'S your favorite workflow??? MAC BASED

first off - I don't think there's a system out there that can handle 4K, 2K with a capture card yes.

Now, to your point. The camera creates proxies of your footage. If you use these to edit, you're doing an offline edit and then have to online AFTER transcoding the .r3d files.
I just transcode them into UC10 bit and edit those from jump street. No offline.

You can't edit the .r3d files until after you transcode them and the proxies aren't full resolution.

Hope this answers your question satifactorily.
 
What's the data rate on the 4k stuff that RED records? I guess what I;m not understanding is how can I not edit something that can be recorded onto a flashcard? Why "can't" you work with the r3d files?
 
JesterJJZ said:
What's the data rate on the 4k stuff that RED records? I guess what I;m not understanding is how can I not edit something that can be recorded onto a flashcard? Why "can't" you work with the r3d files?
Click to expand...

I don't think I'm tech savvy enough to answer your question but I do know that only RedCine/Red Alert! read .r3d files. FCP/FCS has a REDCODE Codec but you can't edit with it.

I don't know how to answer your question or even if I can. Just know you can't work with the .r3d files.
 
I currently shoot with the HVX. It records in MXF format. When you import into FCP it just re-wraps the MXF files in a Quicktime wrapper so FCP can use it natively. This workflow makes sense to me. I don't understand why a similar workflow can't be applied to REDCODE. I guess it would be Apple's job to make this work then?

Then after import you could simply edit in the new Quicktime wrapped REDCODE files or white balance them first if you chose and follow something more akin to the current workflow.
 
Well, I just watched the video - you're still editing with a 2K version of the footage in an offline fashion. I for one hate the offline/online process, so I transcode into UC so that I don't have to.

This is just me though.
 
Horses for courses

Horses for courses

Assuming a Mac/FCS desktop platform without specialized hardware/software and a desire to work file (clip) based rather than frame based (DPX) I advocate one of two pipelines depending on the project properties.

1) If you have a relatively short piece and/or you have good notes and can get by with only the circle takes then grading in RedCine first, cooking out ProRes for editorial, using Color for subtle shot to shot matching and creating deliverables right from FCP is a slick workflow. While you are leaving some of the RED sweetness on the table its fast and should still look better than most CineAlta and Varicam projects. Note: be sure you do not use transitions or other tools that dumb down your footage to 8 bits, search RedUser for detailed info on this issue. Also run a quick output test to check for gamma issues with your particular deliverables.

2) Editorial with the camera proxies, matchback (conform) with Crimson (or some other similar tool), grade in RC and then ProRes to FCP etc (see above). The downside is you are back in offline/onlineville but the upside is you only grade what is actually getting used so you can devote a bit more time to each shot during color correction. This is generally more time efficient with longer form stuff or if the shooting ratio was high and you don't have good notes.
 
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