I recently started transcoding and organizing footage for a feature that was done on the RED camera. Some of the footage was filmed in Los Angeles and some in India. Unfortunately, they did not pay attention to the resolution and frame rates while recording. There was also footage recorded on a 7D and some on a 5D for extra B-Roll. The footage formats are as follows:
5D/7D Footage: 1920x1080 at 23.98fps straight to ProRes
Los Angeles: 4K HD 3840x2160 at 23.98fps converted to ProRes 1920x1080
Still need to transcode:
India: 4.5K 4480x1920 at 24fps
The codec I'm using for all the footage is ProRes 422 HQ. Until I got to the India footage, I thought that everything would be 23.98, assuming that all the RED footage was at that frame rate, and that everything would go smoothly, not to mention thinking the India footage was at least the same resolution! Now I'm stuck. I've never adjusted frame sizes for a project of this magnitude before; usually it was just one or two shots for a BTS that I would go into the Motion settings tab to fix. What are different ways I can manage this footage? Thanks!
well it all depends upon your project and workflow.
looks like you are not doing it for cinema projection, so you won't be returning back to .r3d originals which is a different kind of workflow.
but if you are doing it for broadcast project the my suggestion is:
as output is (if) maximum HD 1920x1080 and you have a lot of dSLR footage which is maximum 1920x1080. your L.A. footage is also converted to this resolution so this is the format you should keep.
only left india footage can be easily converted from 24 to 23.978 in redcineX at time of exporting or even conformed to 23.976 (i think) in cinematools (FCP). shot will need reframing but that is also true for 3840x2160 L.A. footage(it's also not 16:9) so what you did to L.A. RED footage do likewise reframing to india footage. 24->23.976 is a little sync issue but it happens for very long files, you can always fix that while editing (no dialogue can be 10 minutes long uncut). if ADR is to be done sound is no issue.
so you will have all your files email@example.com proresHQ.
keep you project settings to firstname.lastname@example.org and edit as if they were shot this way. as you are not returning to red R3D, proresHQ is you raw. edit and finish on it.
but if it is for cinema projection, dslr footage with spherical lenses also needs adjustment as most of the films project at cinemascope which is 2.35:1(actually 2.39:1) so lot of cropping and panning to your already converted footage. also films are projected @ 24fps so you will either need to reconvert your previous footage or conform to 24fps.
"we will fix it in post" = we will fix it in Planning, Organization, Structuring, inTime
he did not mean it for post production.