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Sean Davison
Next Project
on May 22, 2009 at 10:02:46 am

Ok here's a more complicated one!

We are about to start work on a Feature documentary - 90 minutes long -50+ Hours of footage. We have plenty of time so I'm going to use RED RUSHES at Half Hi Res to transcode the rushes to Pro res for the offline.

The cameraman has shot 24fps at 2.1 aspect. The final delivery will be to HDCam sr for the UK and US festival circuit so we are creating 50i (or25fps) and 60i masters to make digibeta/HDCam/DVD/Betasp/VHS(!)or whatever formats the various festivals want them on.

I'm really happy with the workflow to the offline. How do I get the best out of the footage at online?

I have a Kona 3 with BOB and the 24fps plays fine on my Grade 1 Sony.

Can I use the 444 dual link? What's the best way to go given the constraint of time (I have a week to Grade and Online)




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Uli Plank
Re: Next Project
on May 22, 2009 at 10:27:49 am

Since your delivery is limited to 10 bit anyway and since you need the master for two different TV systems, I'd suggest the following:

- Edit offline as 24 fps
- Make an online version with the help of Clipfinder in ProRes HQ or uncompressed 10 bit if you have a beefy RAID, doin some first-light corrections in Clipfinder where needed
- Grade in Color as 24 fps and save that timeline as a master (again UC 10 bit or ProRes HQ)
- Conform one version to 25 fps with CT for Europe
- Conform the second one to 23,97 for US/Japan
- Output to the respective format

Hope this helps,

Uli

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


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Sean Davison
Re: Next Project
on May 22, 2009 at 10:50:26 am

Great - 2 questions - If I conform using clipfinder how does that affect the audio? The original idea was to create a 24fps master then get it converted via Alchemist to 50 and 60.

Will the conform get rid of the need for this and will audio slip?



http://www.twotallmen.co.uk


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Uli Plank
Re: Next Project
on May 22, 2009 at 4:36:12 pm

Conforming to 25 fps in Cinema Tools will speed up the audio too. If you don't like the change in pitch (think concert or opera), use a good audio program to change the length of the audio.

Of course there's nothing wrong with using an Alchemist ;-)

Regards,

Uli

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


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gary adcock
Re: Next Project
on May 22, 2009 at 3:08:39 pm

[Sean Davison] "Can I use the 444 dual link? What's the best way to go given the constraint of time (I have a week to Grade and Online) "

ProRes is not 4:4:4 and with a week to grade and online a 90 min feature you might be better handling the footage as PRHQ all the way thru rather than going to DPX or R3D finish.

By using the half High conversion when going thru RR your ProRes master will look every bit as good for the formats you are delivering too.

Also most of the festivals do not accept RGB masters, they want SR tapes as 10bit 4:2:2.

FYI the pulldown on output from the Kona.

I recommend cutting your 24 fps at a 23.98 timebase since all of your delivery seems to be for video release.

Output that 23.98 master file as 29.97 for the NTSC world.

Conform a COPY of that file to 25p in Cinema tools (it will take about 15 seconds)

Create a new project using the kona 1080 25i setting and use the 25p conformed materials in the new timeline.

Output to your deck in the same manner as 50i.










gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

Check out
http://www.aja.com/kiprotour/

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http://library.creativecow.net/articles/adcock_gary/AJAIOHD.php




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Mike Most
Re: Next Project
on May 27, 2009 at 4:44:37 pm

What Gary said.

There is little point to going through all the contortions necessary to make new files that are not likely to give you significant quality advantages, given that this is a video only delivery, especially if you've already decided to take the rendering hit up front.



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Sean Davison
Re: Next Project
on May 27, 2009 at 4:49:29 pm

All good and valid points....Relinking the offline xml to the r3ds using clipfinder and rendering out of color at 10bit u/comp seems to work well - what happens to the Debayer here?

http://www.twotallmen.co.uk


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Uli Plank
Re: Next Project
on May 28, 2009 at 7:11:02 am

Debayer in Color is half high (max.).

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


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