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RED 2K & 4K FCP timeline - workflow advice for Color?

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Sean Kapleton
RED 2K & 4K FCP timeline - workflow advice for Color?
on May 13, 2011 at 11:03:15 pm


I was just passed along a 2 minute media managed (w/ handles) fcp project which has mostly RED 4K material on it but also does have some 2K RED shots (slow-mo) as well as 1 5D shot and a couple GoPro shots as well...I will only ask about the RED stuff.

The delivery specs are as follows:
1920x1080 ProRes (HQ) 23.98 and they just want my renders from color because they have some more post stuff to do in AE (i.e. time remapping, grain, gfx, etc.)

When i look at each shot's item properties they reflect there original format (i.e. 2K & 4K all says REDCODE with native resolution. My initial instinct is to create 2 separate sequences for the RED material to send to color each with its own settings according to the footage but I thought to lay out the details just to be sure. The project was passed to me as media managed with render and media folders - render folder is all 1080 ProRes(HQ) 23.98 files which matches the sequence settings and the media folder has RED 2K & 4K files as well as 5D and GoPro original RAW formats. I am guessing that this because after rendering and picture was locked the editor reconnected to the R3D files and THEN media managed...thereby creating 2 folders.

Media managed sequence settings:
1920x1080 HDTV 1080i (16:9)
Field Dominance: none
ProRes (HQ)

I am also thinking to create a 2K and a 4K sequence to send separately to Color...the client insists that the RED material should be graded in color using the full res RED RAW material so my hope is that when i send those to Color it ignores the render folder and instead recognizes the fact that those shots were relinked to there original RAW files. I have included screen grabs of the folder structure and sequence settings - the fact that there original R3D folder are not in play anymore also concerns me in terms of using Color. I kinda would just love to convert everything to 1080 and not even bother with the RAW R3D but if its still possible I should respect the clients wishes.

My understanding is that they cut offline with ProRes and then reconnected to R3D for the red stuff before media managing. I also did notice that one of the RED RAW files is larger than 2GB so that concerns me in terms of the loop bug...never had to use Clipfinder or Cinema tools because all my RED projects have always been fine with using ProResHQ Full quality transcodes.

If there is anything wrong here or another workflow please advise because I only have a day to get this out the door!

thank you in advance and hope this makes sense?!

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Sean Kapleton
Re: RED 2K & 4K FCP timeline - workflow advice for Color?
on May 14, 2011 at 5:37:27 am

One thing I am noticing with the RED timelines going to color is that the F proxy files seem to be a problem as the RED tab is inactive I am guessing the mis-media managed project without proper R3D folder structures and instead F proxy files only creates issues.

Any way to resolve this or do I need to get a hold of those original r3d RED folders to reconnect properly in Color or even transcode 1920x1080 ProRes HQ files to work with instead? The editor should have just media managed the ProRes sequences with handles correct - and included on a drive the R3D folders for me to reconnect to with cinema tools? It seems that again the editor just reconnected there Offline sequence to F proxy files the media managed so I hav those files and the sequence render files but NOT the ProRes transcodes or the full R3D folders...yikes!

thanks in advance for your time my apologies for the long posts.


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