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Couple of Questions

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Andrea de Paula
Couple of Questions
on Nov 13, 2008 at 2:48:47 pm

Hello,

My questions are:

1 - Here in Brazil, we have a very hot weather. Sometime the Red camera freezes when the weather temperature is hot. What should I do? Record through HDD without the card?

2 - What should I do to avoid Red freezing when trepidation occurs (for example, when filming on a car)? Again, record through HDD without the card?

3- What is the best post-production workflow? DPX or Redcode? (We use Mac Pro, Final Cut, Color and a Raid).


Thanks a lot!


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Uli Plank
Re: Couple of Questions
on Nov 13, 2008 at 10:52:23 pm

Oi Andrea,

No, the drive won't help. Turn the fan on full power and have a sunshade over the camera.

What do you mean by DPX vs. Redcode? FCP doesn't take either. Please tell me what you are working for, film-out or HDTV and I can consult you. BTW, my partner will stay in Brazil in February, in case you need help with post by then.

If you can explain in Portuguese, that's fine with me, but I'll respond in English –my written Portuguese is bad…

I'm teaching Red and it's workflow at university level here in Germany.

Best regards,

Uli




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


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Andrea de Paula
Re: Couple of Questions
on Nov 14, 2008 at 4:59:54 pm

Hi Uli!

Thanks for your reply. I really appreciated it.

Actually, those question came from my DOP. I think he meant DPX vs. Quicktime.

Our platform are made of Mac Pros, FCP and Color.

That's the first time we will use Red and I am the VFX supervisor.
We are going to film a spot.

We are concerned about what format is best for post production.
I know FCP can work with DPX, but has a lot of work-arounds to get the DPX readable on FCP, like Glue-tools and Crimson-workflow.

Some people say that DPX is just for film-out and other people say Color reads quicktime files as "video", then it is better to work with DPX if you want the best grading ever.

Maybe I should go uncompressed 10 bits? What do you think?



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Russell Lasson
Re: Couple of Questions
on Nov 14, 2008 at 11:39:49 pm

The reason why people like DPX files for color grading is because it has 4:4:4 color sampling. You give up a lot of color information if you go to a QT file that is 4:2:2. From REDCODE, you'll still have quite a bit of flexibility with a 10-bit 4:2:2 QT file, but 4:4:4 is better.

The best color grading option is a program that can access the R3D file natively, like Scratch. Next best is to convert to DPX or an 4:4:4 RGB QT file.

But you really need to look at what your project deserves and what you're delivering to.

-Russ

Russell Lasson
Ridgeline Digital Cinema Mastering
Universal Post
Salt Lake City, UT


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marco vignoni
red conversion to mxf
on Dec 6, 2010 at 10:23:33 pm

Hi everybody,
a simple question: I'll shoot some days whit red one, and editor want an mxf compression for an offline editing on avid. Nothing strange, i think to do it whit metafuze and whit correct settings. But in the workflow followed by the editor he ask an mxf 4:2:0 file. What kind of settings i've to use in metafuze to obtain a 4:2:0? the project will be at 25p, thanks.


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Uli Plank
Re: Couple of Questions
on Nov 15, 2008 at 8:29:27 am

Oi Andrea,

there is no simple answer, I'm afraid. You have to decide depending on shooting ratio, the kind of VFX you need (chromakeying?) and the delivery format.

I wouldn't advise to use DPX inside FCP at all.
So your first question should be: Will I need to work on my VFX in another program like Shake or AE, which can make full use of the quality of DPX? In this case I'd use FCP strictly as an offline editor, conform with Crimson and export the DPX sequences to work with them in a program that understands the format natively.

If you can get away with ProRes HQ (and it will definitely cut it for HDTV), you can do a first-light in RA, convert everything in RR and finish with Final Cut Pro, Motion and Color. If your shooting ratio is very high, you may want to convert in offline quality first, do an offline edit, use Clipfinder (free) and replace the shots you use with full quality conversions to speed things up.
We used such a workflow even for one project with a film-out (due to budget restrictions) and the client was quite happy when seeing it on the big screen.

Um abraço,

Ulinho


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


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Andrea de Paula
Re: Couple of Questions
on Nov 15, 2008 at 9:07:56 pm

Oi Ulinho!

Obrigada pelas respostas!
Very clarifying.

I think I will try QT 4:4:4, like Russel said.
I am not confident to work with DPX on FCP.
Wish me lucky!

Please, I would like to know more about the possibility of your partner visit my company while he is here in Brazil in February. My email is andrea[at]farofafilmes[dot]com.

Again, I thank you so much for your advices.

Grande abraço!

- Andrea





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Uli Plank
Re: Couple of Questions
on Nov 16, 2008 at 10:25:16 am

Oi Andrea,

sorry to put some water in the wine again: while 4:4:4 is theoretically possible in YUV too, it's RGB in most cases, and you can get problems with color shifts during conversions between YUV <-> RGB. Plus, FCP is always working in 8 Bit when you feed it RGB. So, it's very important to discuss what kind of VFX you want to do and in which program.

There's only one codec I know for the Mac that is smoothly converting between RGB and YUV: Sheer from Bitjazz.

Let's keep this discussion online, since it might be helpful to others. But I'll get in contact with you about coming to Brazil.

Best regards,

Uli

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


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