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What codec from R3D files in resolve to give me a good working codec for editing?
I have 4800×2700 R3D epic files to send to a freelance colorist. I initially requested graded files as ProRes 4444 because my client usually requests ProRes. Unfortunately, the colorist cannot export ProRres codecs. Trying to determine the next best thing that would allow me to still make some edits and to also deliver a final ProRes to the client…
And this is where I get confused…
I have read several threads discussing the topic of the raw colorspace, most of which is over my head completely, and some seem to imply I might be better off going with Uncompressed 10 bit 4:2:2 files… but won’t I be significantly reducing the color information and limiting myself to a Prores422 (HQ) final output? I really want to deliver the best quality I can, which I thought was Prores 4444, but now I’m not so sure. Any advice? -
15 Replies
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DNX is supported on both Macs and PCs, and the various flavors of DNX are essentially equal in quality to the various favors of ProRes.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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[Susan Dempster] “..some seem to imply I might be better off going with Uncompressed 10 bit 4:2:2 files… but won’t I be significantly reducing the color information and limiting myself to a Prores422 (HQ) final output? I really want to deliver the best quality I can, which I thought was Prores 4444, but now I’m not so sure”
Not sure why you need to deliver Prores4444 unless the deliverable requires an alpha channel. Delivery files for most needs do not need the extended color space unless further image manipulation is required. DNx has variants with 444 space if required but getting graded files to edit without further need to manipulate color doesn’t need a 444 codec. As a test you should get some 444 and 422 codecs and intercut and see if you can see any difference.
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Thank you, David and Michael!
It looks like we have 2 options:
1. Resolve “DNxHR 444” transcoded to ProRes4444
2. Resolve “Uncompressed RGB 10 bit” transcoded to ProRes422(HQ)I know that DNxHR is considered a lossy codec – but I’m not really sure if Uncompressed 10 bit would be less so?
Regardless, if there is little visual difference between ProRes 422 (HQ) and ProRes 4444, and we don’t need an alpha channel, would #2 be a better workflow in general?Thank you so much – I greatly appreciate your time and your advice!
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I wouldn’t do a transcode from DNx to ProRes. Just cut the DNx.
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The client requested a ProRes codec, so I have to transcode to ProRes for delivery….
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you might have to transcode to prores for delivery, but that doesn’t mean you have to transcode to prores for the edit.
Transcode the footage to DNX, cut your piece, once its signed off on, either uprez back to camera original and color and output to Prores, or color the dnx and output to prores.
There is absolutely no need to do a double transcode before you start editing.
Glenn
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If you can edit DNx then output a ProRes final for delivery that will save a lot of extra transcoding of rushes, effectively double transcoding everything.
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the piece is edited and I’m in a rush to get it off to grading – the only change that I may end up making is removing one shot before I send the final to the client. Since we are under time contraints, I figured it makes the most sense to go ahead and have it graded – especially since the client has asked for ProRes files and my colorist can’t produce ProRes on their system, so I know I have to transcode to final delivery anyway. I dont’ know if I have explained that well, but hopefully it makes sense.
I am most curious to find out if it’s better to go DNX from Resolve and transcode to Prores4444 or Uncompressed 10 bit from Resolve and transcode to Prores422HQ, as a general workflow rule. Curious if you still think I should go the DNX route and why that would be better than uncompressed?
TIA! -
Michael, Why would DNX to Prores 4444 be better than Uncompressed to Prores 422 HQ (unless I have an alpha channel which I don’t)?
I’m sorry if i’m being slow in understanding what you are proposing… -
I don’t think you need the 444 codecs if you are bringing graded files back in to a final timeline to transcode to ProRes. Personally I use Unc 10bit 422 and render a ProRes on another machine but for really long projects an Uncompressed file is huge. For feature length docos I use DNx220 as the master file and also make a ProRes for some deliverables from that. I never bother with a 444 codec as in my experience ProRes4444 sometimes has gamma shifts depending on the NLE it goes back into.
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