Premiere / RED color workflow w/ remote colorist
by Ben Krutzik on Dec 1, 2015 at 4:11:46 pm
Hi, I'm going to be editing a :45 commercial that will run on Hulu.
I'm looking for some pointers from folks more experienced with RED footage to see if this workflow makes sense...
I'll be using Premiere CC 2015 for the edit and working with RED R3D native 4K files in a 1080p timeline.
The DP on the project will also be the colorist, and he'll have a copy of the media files. Because we have a tight turnaround for final delivery, he'd like to get start doing primary color adjustments with RED Cine X while I'm working on the rough cut.
We only have 10 shots in the commercial, so the plan is for him to export RMD (metadata) files from RED Cine X for the look he creates with those shots, and I will load those in Premiere right before we send cuts for agency review.
For the final color grading, he'd like to use Resolve to build on the looks created in RED Cine X and do a final pass with some secondary corrections.
If I export an XML of my picture lock sequence and send that to him, I think Resolve should recognize the RMD metadata (since his copy of the R3D media will be the same) and then he can finish from there.
Does this make sense? Any snags you can see with this workflow?
I'm fairly new to working with RED footage and passing off to a colorist for finishing in Resolve, so thanks in advance for any suggestions you can offer!