I have a multi-day field shoot coming up with the RED Epic. I'm new to this format, so bear with me.
At the end of the shoot, I will likely not do any color correction (don't cringe) but will convert to Apple Pro Res 422 HQ files to capture the footage as was set up in the monitor view on location (a WYSIWYG result, if you will). However, I do still wish to download and preserve the RAW files.
My unknown is, can I simply download the RAW files in the field on the fly and do all conversion to Pro Res back at the fort, or do I need to utilize the camera (or provided accessories) to convert the files to Pro Res on the spot?
By the way, I totally understand the RAW file functions and color correction benefits once in post, and the FC offline/color correction editing workflow. I could just use some insight on the initial file handling in the field.
Thank you very much in advance for your workflow insight on this one.
What you would want to do is back up all of the R3D data in the field, to either multiple copies or a safe HD solution. Depending on the situation this can go from a laptop with High speed (USB 3 or esata ports) to a full blown MAC.
Once backed up and back at the fort, all of those files can be transcoded to the PR 422 format you choose.
If you have the time, you might most probably want to put a "one light on those" before rendering, but there are many ways to go.
David, thank you very much for the guidance. I realize this is a HUGE multi-directional topic with file management, workflow, and further color-correction, transcoding options, etc, etc. But I just wanted to know the simple, "safe", logical first-step getting out of the field with the data and back home. Your advise is very helpful.
Please don't take the time to answer this follow up question if it is opening up a big can of "workflow 101" worms, but I don't know what: put a "one light on those" before rendering... means.
It's very easy to explain. "One light" or "best light", is a term that comes from film. When creating the film dailies, they would not do the precise color timing on the dailies that they would do on the final film, so for dailies they would set one setting for the whole roll of film, while they might do a shot for shot correction on the final film.
Here's what that means in the Digital RED world.
Red is a RAW image capture device. That means most things are not baked in. you can modify, White balance, exposure, ISO, white levels, black levels and mid tones to "develop" what you have shot after the fact. You have a lot of control, maybe like being in a darkroom. All of the changes you make are non destructive and are kept in a "sidecar" file.
The RED shoots a raw DATA file called the R3D, this is the file that holds all the image data. It also captures an RMD (sidecar file). This file is the metadata that tells the R3D how to be displayed. So you can change the RMD (the file responsible for the look) all you want without ever affecting the data you captured. This is the beauty of shooting on RED but it also scares the crap out of a lot of people.
The most important thing is your shutter angle and exposure and focus, the three things you can't change. :)
So many people like to go in and do a little "tweak" on the files before rendering out the QT files so that it is the intended look, but not a final grade.