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Andrew van Baal
RED 4k FCP online/asset delivery workflow
on Aug 11, 2009 at 12:05:56 am

Hi everyone,

I've finished the edit of a short film in FCP shot on the RED at 4k. I edited it using transcoded 2k ProRes HQ Quicktime movies according to the suggested workflow in the RED/FCP whitepaper.

Now it's time to deliver a few clips from my edit to an After Effects artist who is going to do some rotoscoping/compositing work on them and I'm wondering how to deliver the clips in their highest possible quality.

Any suggestions for the best format and corresponding workflow to deliver for After Effects work?


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David Battistella
Re: RED 4k FCP online/asset delivery workflow
on Aug 11, 2009 at 12:41:37 pm



Prores is compressed.

If your After effects guy is on a Mac you can deliver the prores files have the effects done, render them back out as prores and put them in your show.

If you want to go teh extra step you can export each shot as a 10-bit uncompressed movie, then have them do the effects and render that back out at 10 bit uncompressed, place in your timeline.

OPtion two will require the material to be rendered back to prores.

You should test one shot and decide which way to go.

David



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Andrew van Baal
Re: RED 4k FCP online/asset delivery workflow
on Aug 11, 2009 at 3:40:27 pm

Thanks. I'll test out both of those options.

But I'm also wondering if - because ProRes is compressed and at 2k res - there's a higher quality output I can do? Even an uncompressed 10-bit would be originating from the (compressed) ProRes 2k "offline" clips, so it couldn't be any higher res than those, right?

Is there a way to get the raw 4k clips into After Effects (as DPX files perhaps) and if so, would there be a difference in quality/resolution between those and what you're suggesting (2k ProRes or uncompressed 10-bit)?

Thanks.


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Noah Kadner
Re: RED 4k FCP online/asset delivery workflow
on Aug 12, 2009 at 11:20:52 am

Sure you could always go back to the original R3D files, assuming you have access to them and output a 4K Uncompressed QT or TIF sequence. This will be a truly massive file to deal with- like into the TB for more than a little footage. If you aren't going back out to film it's also big overkill IMHO. Just about all movies today have most of their effects work completed at 2K or even HD if it's destined for the small screen. ProRes HQ at 2K is perfect for this.

Noah

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Andrew van Baal
Re: RED 4k FCP online/asset delivery workflow
on Aug 12, 2009 at 10:30:41 pm

Great, thanks for the advice. I'll probably do a short test with 2k and 4k clips to see if it makes any difference.


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