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RED Finishing Workflow

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Ben Chappell
RED Finishing Workflow
on Feb 6, 2009 at 4:03:56 pm

Hi All. I currently have a finished edit in a timeline in FCP that I cut using the _M proxy files. 80% of the shots are 2k 2:1 120fps. There are a few 4K 2:1 shots as well. My current sequence is 512x256 ProRes because that seemed to work well enough to cut with. The cut is locked and now I want to ONLINE.

Ideally, I would love to take my cut and bring it to RedCine and color correct shot by shot in there and export a 2K Master from there.

OR, I am happy to ONLINE in FCP, I just don't know how to get to up-res. Maybe I can just replace my _M Proxies with _F proxies and color correct in Color? Or even Magic Bullet Looks.

Ultimately, this is going to be exported to HQ Vimeo and YouTube....so I'm not insanely picky about all of the particulars. I just need a simple way to upres, and color correct my edit.

Any suggestions?

Thanks!!


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Russell Lasson
Re: RED Finishing Workflow
on Feb 6, 2009 at 6:22:14 pm

Read the RED FCS Whitepaper included in the FCS Installer on RED's support website. It talks about how to online in FC and send it to Color.

If you have any more questions after that, just ask.

-Russ

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


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Noah Kadner
Re: RED Finishing Workflow
on Feb 7, 2009 at 12:30:19 am

I'd look into Crimson Workflow and/or Monkey Extract. I just did a nice RED to DPX finish last night with Crimson with some Phantom footage in there for kicks. FUN!!!

http://www.crimsonworkflow.com/

http://www.rubbermonkeysoftware.com/

Also to really work with DPX you need Glue Tools as well. (Did I mention none of this is free?)

http://www.gluetools.com/downloads_dpx.html

-Noah

Check out My My FCP Blog and my new RED Blog. Unlock the secrets of the DVX100, HVX200 and Apple Color.
Now featuring the Sony EX1 Guidebook,
DVD Studio Pro and How to Light Interviews.
http://www.callboxlive.com


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Ben Chappell
Re: RED Finishing Workflow
on Feb 9, 2009 at 5:16:26 pm

I ended up highlighting all of my _M clips in the timeline, and reconnected them with the _F proxies by unchecking "matched filename" in a 2K ProRes HQ Sequence. Exported out a QT from there and treated it as my UnColorcorrected Master. I brought that back in to FCP and adjusted color with FCP 3 Way Color Corrector.

I understand this is not really an IDEAL workflow....but it worked and it all looks great.

thanks!


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