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redone specs for final cut proxy editing

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Fran Carmona
redone specs for final cut proxy editing
on May 29, 2011 at 3:05:45 pm

Hi folks, and thanks in advance for your help.
Here is my issue:
some years ago I worked as an editor in a project for cinemas shot on RedOne at 4K. Everything went perfect because I use the 1K proxies for edit, which gave me an easy and fast workflow.
The problem is thant two months ago I worked on another project shot with RedOne again at 4K but, because of the specifications and settings of the camera, I wasn't able to use the proxies for edit. That became an inversion of time in Log and Transfer (a heavy inversion because the project was shot with 3 cameras) and a delay in editing work.
The next week I'll be working on another RedOne project, and I need to ask the director of protography to use some RedOne camera settings that let me edit with the proxies that the camera automatically generates. Can someone help me, please, with that specs? The project has to be 4K and is a project for cinemas.
Thank you very much!
Fran

Fran Carmona


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Uli Plank
Re: redone specs for final cut proxy editing
on May 29, 2011 at 6:47:43 pm

As long as he/she is not shooting 4.5 K, you should be alright.

Do you have any idea what the format was when things didn't work as expected?

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


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Fran Carmona
Re: redone specs for final cut proxy editing
on May 29, 2011 at 6:53:55 pm

Hi, Uli!
I think the problem of the last time was the lack of compression at the camera when shooting. There's any way to know, using a R3D take, the specifications of the camera when the shot was taken. That way I can tell you the details of the takes that are not working with Final Cut. What software do I have to use to obtain that information from a R3D shot?
Thank you very much.
Fran Carmona

Fran Carmona


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Uli Plank
Re: redone specs for final cut proxy editing
on May 29, 2011 at 7:37:59 pm

The camera is always compressing, but the generation of QT proxies might have been switched off.

No big problem: REDCine-X (free) can generate them, plus it can tell you all about your files.

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


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Fran Carmona
Re: redone specs for final cut proxy editing
on May 30, 2011 at 3:18:19 pm

Hi, Uli. The point is not the lack of proxies. I have the proxies, but I just can't edit with them (although I have change my timeline following the Red.com indications) because they don't do play smoothly. That's why I want to know which way to shot with RedOne at 4K with enough quality to go to cinemas and at the same time edit with the proxies that the camera automatically generates.
Fran

Fran Carmona


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Uli Plank
Re: redone specs for final cut proxy editing
on May 30, 2011 at 4:38:08 pm

Simple: don't edit with proxies. They are a pita even on very fast machines, since they aren't proxies in the true sense – they are not smaller versions of your clips, but rather a kind of pointers to the R3Ds, and those are very hard to decode without a RED Rocket.

Before running to buy one: simply use RCX or Storm and go for a classical offline/online. A fast transcode to Prores (even LT will do) with half de-bayering in HD size will give you all you need to edit smoothly. Once the cut is final, move the XML back to those and either export high quality ProRes if you are working for HDTV or Blu-ray or hand the XML or EDL plus originals over to a facility doing the grade and the film-out or DCP.

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


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