Complete Red/Color Workflow


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Complete Red/Color Workflow
by Tristan Olson on Oct 23, 2009 at 8:37:16 pm

Hi Everyone,

I am getting ready to post a :30 TV spot that will eventually be broadcast in both HD and SD (deliverable format is HD Cam and Digi Beta). The spot is being shot on the RED and I would like to handle all of the editing and color grading in-house utilizing Final Cut Pro 7 and Color 1.5. I have read the RED/FCP whitepaper and I wanted to get your guys' opinions of the best workflow.

I will be working with a Mac Pro 2 x 3 GHz Quad Core Processor; 8 GB of Memory; The Scratch disc will a 1TB 7200-rpm Serial ATA 3Gb/s.

Is it best to transcode to 4444 or 422 HQ? Does it make since to conform to the raw RED files for color grading?

Thanks, Guys. Appreciate it as always.

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Re: Complete Red/Color Workflow
by Uli Plank on Oct 23, 2009 at 9:51:59 pm

I'd say: do a first-light in Clipfinder, transcode to ProRes HQ and work with that throughout the process. Anything else is overkill for TV and causes more work or tedious editing.

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

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Re: Complete Red/Color Workflow
by Tristan Olson on Oct 23, 2009 at 10:38:08 pm

Would I lose anything in terms of color information? These are going to be a nationally broadcast spot, so quality is really important.

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Re: Complete Red/Color Workflow
by Loren White on Oct 24, 2009 at 12:04:35 am

I usually edit in ProRes.
Reconnect to R3D using Clipfinder.
Grade R3D in Color
export PR 4x4.

Simpler, if you have the horsepower. ( I think you'll be fine with what you are working with.)
Edit proxies.
Send to Color.
Grade R3D (Color automatically works off of the R3D)
Send out 4x4.

I find this to be great for SD/HD broadcast..

Next level would be exporting DPX from RedCine or Scratch for work in Color.. but I don't think it's worth it unless it's a film out/theatrical.

www.lorenwhite.com
Colorist/Finishing

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Re: Complete Red/Color Workflow
by Uli Plank on Oct 24, 2009 at 7:44:49 am

I'd like to warn about using proxies for editing. We have experienced problems when rendering in Color even after using Colorfixer. BTW, Apple themselves are not suggesting to use them.

Instead I recommend the route of offline editing with 1/4 or 1/2 res ProRes clips converted by Clipfinder and re-conforming the locked edit with Clipfinder back to R3D for full access to the sources in Color if you want the ultimate quality. The process David Battistella published for this works perfect.

If your project is effects-heavy, an online workflow with ProRes 4444 would be easier to handle, and nobody is boradcasting more than 8 bit in the end…

Regards,

Uli

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

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Re: Complete Red/Color Workflow
by David Battistella on Oct 25, 2009 at 2:41:15 am

i do this:

http://forums.creativecow.net/readpost/223/12326

and it works really well a 30 second spot will be a breeze and the render quality from r3d in color is far superior to ant rendered media. you also get the red tab in color. more power.

david

Peace
Check out my new web series.
http://www.ripperhockey.com

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