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Sean Davison
Red FCP Online
on May 30, 2008 at 5:06:20 pm

So I shoot 2k Red - Tfr Rushes to G Raid - import Hi Res Proxies (16x9 I hope) into FCP, Edit, get cut approval....How do I relink to the Red R3d Files so they can go back into FCP at full res (say uncomp 4.4.4) to grade in Color and online in FCP to lay back to HDCam SR at 4 4 4 (uncompressed)

Sorry - that sounds confusing - I want to end up with an HDcam SR with the best possible quality - My offlines are often complex - lots of FX and layers - added Graphics etc - so conforming in Red Cine isn't an option -


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Lonny Pelot
Re: Red FCP Online
on May 30, 2008 at 5:35:53 pm

Have you checked out http://www.crimsonworkflow.com/
I've read about a lot of people using this. I have used the trial version and it seems to work very well.


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Uli Plank
Re: Red FCP Online
on May 31, 2008 at 9:50:10 am

Yeah, it's Crimson, at least until Apple get's their act together with antive R3D in Color.

But why do you shoot 2K ? You loose the 35mm DOF and the oversampling quality.

Regards,

Uli

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


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Trevor Asquerthian
Re: Red FCP Online
on Jun 3, 2008 at 11:27:24 am

I'm currently looking at these workflows... (that, AIUI, are all likely to change once Build16 comes along and/or other manufacturers get hold of the Red SDK). It all seems rather painful at the moment.

DO correct me if I'm wrong but the choices (for FCP edit) are:

a. work with the Redcode QT Proxies in FCP, set to Unlimited RT. This is presumably going to result in quite a lot of processor overhead and presumably mean FCS dropping frames/quality as it needs to. Not sure how Redcode holds up as an editing codec in regard to rendering either.

b. Transcode proxies to ProRes and deal with a much more stable editing codec (still offline at this stage)

THEN

use Crimson to deal with 'conform', from R3D files, and 'grade' within REDCINE (which is not really a grading tool - so presumably just get shadows/highlights in the right spot per shot and then grade elsewhere). Rendered QTs will be linked to 'Crimson'd' sequence (hopefully with all fx etc intact).

Even when finished in this way you will have to keep the original R3D files (and the camera made proxies to be able to access the audio) as these are your rushes. You'll need to worry about how you archive that material if *may* ever need to access it again.

ALTERNATIVELY

You could use ScratchCine to make TK Masters from your rushes. Do a best light grade and output to HDCamSR. Now you have tape masters you can work from. Tape will fall into current archiving practices. Hopefully you could still have been editing from the proxies and recapture from the ScratchCine TK Masters (unproven as yet). Similarly I'm not sure how you get audio out of ScratchCine.

The latter would be a much less transcode/shell scripting intensive nightmare, and would fall into current workflows. You probably *should* keep the R3D files, but only in the same way we *should* have kept hold of those 16/35mm film cans over the years (I'm sure there's a bunker with them all in somewhere).


Do let us know how you do! (especially if you find a ScratchCine facility in London)




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