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Several questions for finishing a complicated FCP Red+Canon offline/online workflow (xpost from FCP forum)

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Adhish Yajnik
Several questions for finishing a complicated FCP Red+Canon offline/online workflow (xpost from FCP forum)
on Oct 1, 2012 at 10:42:43 pm

I'm color correcting and finishing a project shot on the Red One at 4K and 2K and the Canon 5D at 1080, edited in FCP 7, mastering to 1080/23.976, and have several workflow questions since the show clearly did not have a post supervisor and it's fallen on me to steer the film through the last leg of post.

I would like to do a primary balance pass on the show within redcine-x (at least to the r3d media) to return them to redcolor 2 - redlogfilm state with shadow and highlight detail preserved. I would like to finish in DaVinci Resolve at 1K (I have Resolve Lite, so it can't grade anything above 1080... which should be fine for a show that wants to master to HD, right?), so we'll have to transcode the balanced r3d timeline to a dpx sequence or a ProRes QT before bringing it into DaVinci. (I'm crossposting this to the DaVinci forum as well).

So here are my questions:

1. Is my proposed workflow above appropriate and workable, or are there improvements I could make? I would love to be able to grade the r3d files in DaVinci, but I'm not sure my computer has enough juice to debayer on the fly like that. I don't have a Red Rocket card either. If we transcode the original 4k r3d files to 1080 r3d files, will that make a difference in terms of processing power needed?

2. How do I rebuild my edit with the original r3d media? An FCP XML of the picture locked timeline sent to redcine-x? The editor keyframed pans and zooms with the 4k and 2k footage since we're mastering to HD, and I'm sure some shots have been speed changed. How will these effects affect the workflow?

3. To make matters even more complicated, the 5D proxies are 720 and the Red proxies are 1080 (did I mention this show didn't have a post supervisor?). I'm not sure if this presents a problem with relinking to the r3d files and preserving those keyframed pans and zooms, but it seems like it will. The proxies were created in Final Cut Pro Log and Transfer (as opposed to redcine-x).

4. How does the Canon 5D footage fit into all of this? Obviously we can't bring that through redcine-x for the primary balance pass (or can we?), so what would be the best way to relink that media and transcode to our mastering format (dpx or ProRes 422 (HQ)) before bringing into DaVinci. I'm not averse to splicing in the Canon footage as needed in the DaVinci conform panel, but if there were a faster way to rebuild the edit in DaVinci, I would gladly take that route.

I hope I'm not asking an old question--I searched quite a bit and couldn't find exactly the answers I was searching for. Probably because this project's workflow was not determined before shooting began and we're in a situation that very few people get themselves into normally (at least, I would hope).

Thanks in advance for your help!



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