I am working on a project that was shot on Red and using RedcineX to import footage,
I have not used this program much before and am unfamiliar with the optimal settings,
There is a green screen shot in the film and I need to provide the compositor with both the green screen footage and the background footage to be composited under the green screen shot.
I want to make sure that the footage I provide him is the highest possible quality as I am assuming once it is composited there is no way to relink to the original media in the online process and it will appear as he provides it.
Can anyone please help me with which setting would be best to use when bringing in the footage through redlineX so that it is of the highest possible quality to bring into the online.
The green screen footage is quite dark, so grain is a concern and anything I can do to minimise the grain would be fantastic.
It depends on your workflow, their system, your system, and hard drive space.
A safe bet would be ProRes4444 which can support up to 4K footage. If there system can't handle it or they prefer something like a TIFF or DPX sequence, I would ask the opinion of your VFX guy.
You can run Redcine X in software mode (can't do this with the Red Rocket card) and it does have grain reduction. Grain reduction is needed for most composited shots, if anything to match the grain together later in the process; it also helps pull a better green screen key. Ask your compositer if they prefer you try to degrain it a little, or ask if they have a plugin or system that works for them. Neat image is great for intermediate processing, Nuke/Furnace has some good tools, it all depends.
I would probably also export it in Redlog so the compositor can have wiggle room for a match color correction.
That would be my first course of action/questions.
Like Angelo said, so much of this depends on what the VFX person needs (wants) to work with.
1) Will they be doing color correction?
2) What system are they compositing on?
3) What codecs work best for them?
4) What size frames do they like to work with?
5) Will they be doing denoising/matching or you will?
Those are some basic questions that should really be answered first. Other than that, ProRes 444 is usually a safe bet, check your debayer setting to make sure you are doing a full debayer. Sound smart by asking questions that will make it easier for your VFX person. They will appreciate being asked what works best for them. Offer to do some test clips for them. The more interaction the better, in these cases.
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