I am very new to RED. However I do have a lot of experience with HD, HDCAM, HDCAM SR... using FCP (latest, Kona3, Rorke HDX2 DL fibre SDI all that, so the Hardware is fine for big work). My boss had a potential client call in and request this: "Shooting with 2 RED Cameras. Shooting 4K, wants us to create ProRES files that are 2048x1080" That is all he knows. Correct me if I am wrong but wouldn't the file size be 2048x1024 and if going to ProRes wouldn't that make it 1920x1080??? I may be sounding like an idiot here but can someone steer me in the right direction? I have read to use Compressor, to NOT use Compressor, to use RedCine, to use RedRushes... HELP!
Thanks in advance,
If your client wants ProRes files for offline editing they should be 1920x1080 which he could also use for online and finishing as long as he is not doing heavy compositing with it. If there are lots of FX to do, you can do 1080 ProRes for offline and use Crimson for 1080 UC online. Of course, this all depends on what he wants he final deliverable to be.
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[Stuart Ferreyra] "Of course, this all depends on what he wants he final deliverable to be."
That's the big question. What is your client going to do with it?
ProRes doesn't have to be 1920x1080. An example would be if you converted 2:1 RED files to ProRes. In that case you'd have 2048x1024 ProRes files. If you have a Kona 3 with v6 software, you can play that out 1920x1080 and crop the sides. It can give you options.
The only case that I've heard of people using the 2048x1080 is with digital cinema. Digital cinema projectors have a native resolution of 2048x1080, but shows are usually mastered at either scope 2048x858 or flat 1998x1080.
So if they go with 2048x1080, would they want you to crop the sides or letterbox it?
Ridgeline Digital Cinema Mastering
Salt Lake City, UT
Yeah that was the first question I asked. "What is the final deliverable?" Seems like I am always the last to know... err go figure. I appreciate all the answers you guys have given and any more that I may get. Hopefully I will have an answer to this question soon and when I do, I will let you all know.
The nice thing about Red is that it's a file-based, RAW workflow, so re-conforming/grading is always possible as the RAW files themselves never get altered.
For your situation it would definitely be helpful to know what your deliverables are, but here are some workflows to consider:
1) FCP > Scratch. This is the one I use - it's simple, and Scratch has the most complete feature set for onlining Red footage from the raw files. It's the only DI software that can do that right now.
2) FCP > Crimson > RedCine > Crimson > FCP. As the description implies, it's more complicated than the Scratch workflow, but if you are commited to DIY, then it's affordable and people have been having success with it. The idea is to export an XML from FCP that gets re-formatted in Crimson to be compatible with RedCine. Files are batch rendered out of RedCine, then re-imported (Crimson) to FCP for final conform.
3) FCP > RedCine - cut w. proxies in FCP, render window burn w. source timecode, manually set in/out points in RedCine to render material. Painfully slow, but feasible in short-form projects.
4) FCP > rubbermonkeysoftware.com - new, haven't tried it, know little about it, but it's software that will take a CMX 3600 edl and render red footage via redline (using rsx files from RedAlert for color).
5) RedRushes > FCP - for SD, or non-color critical HD this could be a good/fast/convenient way to go. Render a manually selected list of 'rushes' via RedRushes, then edit online in FCP. Obvious color/resolution limitations of FCP will be a factor.
There are probably more ways to do this, but that should get you started thinking.
John Tissavary | colorist | producer