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How and where should i organzie my RED footage after transcoded

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Trevor Lawler
How and where should i organzie my RED footage after transcoded
on Sep 14, 2011 at 9:49:13 pm

Im a noobie with red and online worflows. Working on a project shot on RED (the files i believe are 4K), have footage currently organized (the DIT overseas organized it) like this (rdm and rdc are just example file names):

a_cam > A001_0521F9.RDM > A001_C001_0521JU.RDC > .r3d file


this of course goes with each camera (a_cam, b_cam, c_cam, d_cam) all with the same structure.

Now i have transcoded the media to ProRes 422 (HQ) and am not sure where or how i should have structured that footage. Currently, that footage is organized elsewhere on the computer in this structure:

a_cam > A001_C001_0521JU.mov


now will this be an issue if the producers choose to go back and online with the raw files rather than just grade the ProRes transcode? Any help is much appreciated.

Also, i have attached a screen cap of each file structure in case my description was confusing. Thanks again!

Raw RED Hierarchy:



ProRes Hierarchy:



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Jeremy Garchow
Re: How and where should i organzie my RED footage after transcoded
on Sep 14, 2011 at 11:34:08 pm

Looks like you did pretty good. HQ is overkill for Proxies if going back to R3D, IMO. What NLE are they using?

Did you make 4k QT movies?


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Trevor Lawler
Re: How and where should i organzie my RED footage after transcoded
on Sep 15, 2011 at 12:00:25 am

Basically from what I've been told though is that they probably won't want to go back and do an online from the raw files, coloring instead straight from the 1920x1080 ProRes 422 (HQ) files I had transcoded in RedCine X.

I believe the edit will take place on a Mac using FCP, most likely not Avid MC. Though if they did want to go online from the .R3D files, I wanted to have it setup so they don't run into any reconform issues, as the edit will be overseas and I won't be there.

Thanks again for replying!


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David Battistella
Re: How and where should i organzie my RED footage after transcoded
on Sep 15, 2011 at 8:26:36 am

[Trevor Lawler] "Basically from what I've been told though is that they probably won't want to go back and do an online from the raw files, coloring instead straight from the 1920x1080 ProRes 422 (HQ) files I had transcoded in RedCine X."

You know. A post house that wants to grade PR HQ over RAW is not worth it's salt. Just about every piece of finishing software you can imagine can grade directly from RAW files.

The image quality is so much better and it is very easy to generate good lists to do this.

WHen ever I hear this stuff, it just feels lazy or cheap, but it's no more expensive to grade PR than it is to grade RAW.

David

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Jeremy Garchow
Re: How and where should i organzie my RED footage after transcoded
on Sep 15, 2011 at 2:36:44 pm

[Trevor Lawler] "Basically from what I've been told though is that they probably won't want to go back and do an online from the raw files, coloring instead straight from the 1920x1080 ProRes 422 (HQ) files I had transcoded in RedCine X."

OK. Tha'ts an option. What color/gamma did you bake in to the HQ files?

[Trevor Lawler] "Though if they did want to go online from the .R3D files, I wanted to have it setup so they don't run into any reconform issues, as the edit will be overseas and I won't be there."

I use Clipfinder to reattach RCX files to R3D proxy (the Red camera generated proxy). You can then export an XML of this new sequence, import to FCP and then send to Color. It's very easy and works well.

There are other ways to do this too. RCX has gotten a lot better about it's XMLs, so they might be able to use RCX alone to conform back to R3D.

I am with David, you would usually want to go back to R3D for grade. I also understand that sometimes it's not possible. No matter what, since you used RCX to make your edit copy, they will have the utmost in options to get back to R3D if they want. The R3D system is great in this regard (offline/online).

Jeremy


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