Worlkflow for an TV Commercial on RED?

[Harcharan Singh]

Hi guys,
We have client who want to shoot an TV commercial on RED ONE to be delivered on Digibeta(PAL Zone) or HD?

We have FCS 2 with all the updates and a KONA 3 card with Sony LMD1700W monitor with HD-SDI input?

It will be very helpfull if I can know the format of shoot in Red and Editworkflow in FCS2?

Thks
HS

 

[Uli Plank]

I can advise on this, but I need to know to things:

- Will it be 16:9 only or need to be 4:3 compatible?

- Will it be 720p50 HD or 1080i50 ? Or only PAL ?

- How high is the estimated shooting ratio ?

 

[Kaku Ito]

Two things I can suggest is shooting 3K/60p could be useful if you need to look full motion with 60i and shooting 29.97p at whichever 2K or 3K for resizing or cropping (these suggestion for 60i world).

Another thing you should be aware of is that when you resize to SD, you might experience flicker or moire, so resizing or converting the format, you have to fine tune the setting or choose right equipment to do so.

 

[Harcharan Singh]

Workflow

Workflow

Hi,
The client has finalised that it will be delivered on DIGIBETA..No HD.
It may be 4:3 or 16:9 .
thks
Harcharan

 

[Harcharan Singh]

Hi,
Just one more info.Finishing will be in SMOKE. We have to give him TGA or DPX sequence.
Thks
Harcharan

 

[Kaku Ito]

DPX would be good. Give them with log setting.

If it is for TV then I guess it won't be anamorphic 16:9, so I would assume it will be 4:3. If you have to do 4:3 letterbox then it will loose all of the resolution, so I recommend to finish in 4:3.

Do they want 60i look? Or just replacing film workflow with RED ONE so go with 29.97p?

 

[Harcharan Singh]

Workflow

Workflow

Hi,
Thks for the reply.
they are just replacing the film workflow with RED One?
So please help me out in a detail workflow such as shoot format in camera then out from Redcine to DPX.
We are in PAL zone.
thks again.
Harcharan

 

[Kaku Ito]

Okay,

Then they want 25p in 50i.

Any slow motion needed? What is the product or content?

 

[Harcharan Singh]

Workflow

Workflow

Hi,
Final delivery will be in PAL Digibeta 25fps ...and 25i( interlaced).
Thks
Harcharan

 

[Kaku Ito]

Slow motion
shoot in whatever faster frames, record overcrank at 25p at 2K

To get 25i video look
shoot in 3K at 50p and convert it to 50i in post

Normal footage
shoot in 4K at 25p

Editing:

1. Edit in FCP, save XML, conform in Crimson workflow, load it in REDCINE, conduct one light grading and crop, resize then export as DPX with REDLOG.

2. Edit in FCP, send it to Color, grade, resize then export as DPX, don't forget to change the gamma space to export as LOG.

 

[Uli Plank]

If you want the film look, shoot 25p. It will be converted to 25 PsF in post.

Kaku's workflow suggestions are perfect.

 

[gbalaji]

I believe they shot in 24fps. Better solution will be to work in 24 and once smoke work is finished just output in 25fps. To give you better workflow need more info related to shoot and post workflow till date.

 

[Harcharan Singh]

TV AD Shoot

TV AD Shoot

Hi,
Thks all for the reply.Here are the details :

Its an TV commercial which was planned to be shot on 35mm but now Red will be used in place of 35mm.

Delivery will be in 4:3 for Television PAL on Digibeta but may be used for 35mm blowup for cinema hall projection.

Finishing will be in Smoke.

So what will be the format setting in the camera and what will be the workflow.thks
Harcharan

 

[gbalaji]

Hi,
Thks all for the reply.Here are the details :

Its an TV commercial which was planned to be shot on 35mm but now Red will be used in place of 35mm.

Delivery will be in 4:3 for Television PAL on Digibeta but may be used for 35mm blowup for cinema hall projection.

Finishing will be in Smoke.

So what will be the format setting in the camera and what will be the workflow.thks
Harcharan

when you are shooting you need to frame using 2.35:1 aspect ratio. So that you can have letterbox for TV and scope for theatre projection and shoot at 24fps.

In post work on 24fps and when you are at the time of delivery to TV output from smoke or avid / fcp 25fps using pulldown.

 

[Kaku Ito]

Theater projection, too, it looks like you should follow what gbalaji is suggesting.

 

[Harcharan Singh]

Output on DVCAM with TC

Output on DVCAM with TC

Hi,
Thks everyone.One more thing the client want an output on DVCAM tape witht the RED Time code as reference for work in Smoke?How is it possible.
Thks
Harcharan

 

[Kaku Ito]

You can transcode to ProRes HQ or SQ with crop or fit width with TC-burn in with ClipFinder or Redrushes.

Then place it on DV timline in FCP, render once (might not even have to depending on your CPU speed) then connect your DVCAM deck with firewire...

Or, if your DVCAM deck has SDI input and if you have something like Matrox MXO or MXO2, Blackmagic then plya your ProRes SQ or HQ timeline through the SDI output and record it on the deck.

 

[Harcharan Singh]

One more time.

One more time.

Hi,
Finally the client has decided that the output will be on Digibeta only ..no output to film but finishing will be in Smoke .
So would I shoot in 4K at 24fps with an Framing ratio of 4:3 .
Thks
Harcharan

 

[gbalaji]

Go ahead.

 

[Harcharan Singh]

Thks

Thks

Hi,
Thks.What will be the ration 2:1?
Should I keep frame rate 25fps?
Thks
Harcharan