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Red tape dailies?
I also posted on the Red forum, but this is more of a FCP question:
Men,I have a client who wants Red images for a commerical, put on SD tape with the dailies look set up in the field. Then match the TC to HD tape with the Red raw look, for a HD conform and scene to scene color correct after his offline edit. I am using FCP and Kona 3 for output, but the editor wants to cut on Avid from the SD and HD tapes.
I thought I could play the proxies file in real time to tape (no rendering) but while I can play (or make simple cuts) I can not record to tape with a matched TC start without a render on the timeline. So, I can output the native color grade in SD, but is there a way without doing a full render via RedCine (or Red Alert) to output an HD Red raw look that would match the TC start of the SD offline tape? Again, trying to make a tape to avoid long render times.
Thanks, Film Joe
Thanks, Film Joe
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4 Replies
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In the Avid / Red Workflow Guide, Redrushes is used to transcode to Quicktime wrapped Avid DNxHD files and create ALE logs.
If those quicktimes could work in FCP (I have no idea if they would), you could turn the ALE into a Batch List, put the files in FCP and create that tapes?
Anyway, here’s the link for the AVID workflow PDF, which might help you figure a method:
https://www.avid.com/RED/REDstepbystep.pdf
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Steven,
Thank you, but the project is not originating in Avid and the client does not want a DNxHD file. He wants a DB and HD tape, just as if it came from film transfer.
So my goal from my FCP is the first step to creat 2 tapes. I’d prefer not to have a 6:1 render time to creat both the HD and again an SD file version before the tape output. I had hoped I could ‘play’ the proxies instantly with the field grade and without, but that is not possible without an ‘import”render’ from Rushes/Alert/orCine, right?
Joe
Thanks, Film Joe
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I don’t know the answer to this, I just need to make a comment…rant rather.
The client sounds like a person who is VERY unclear about the tapeless workflow, and is sticking to their tried and true tape based workflow. This is the WRONG THING to do. If they wanted tape, then they should have shot tape. HDCAM, HDCAM SR, DVCPRO HD (Varicam)…those would have been the wise choices with the workflow that they want. But no doubt they heard about RED and what a wonderful thing it is, so they had to shoot on it because it is the “thing to do now.”
Yes, it is. But it is a tapeless format and therefor has a completely different workflow. They should have known this going into it, but it appears that they did not. So now you have to figure out how to make this all fit into their world, and no doubt you will spend more money doing so.
I don’t envy you. I have had clients like this myself when working with P2. Jumped onto the HVX bandwagon because it was the new camera on the scene, but then still wanted to do the offline/online workflow with tape to tape color correction…the whole 9 yards. That took a good 2 months to try to convince them to use the proper workflow and the new technologies afforded it.
Rant over.
Shane
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Shane,
I agree, they do great spot work, but still have an Avid Meridien and work from DBeta and tape to tape formats. Old habits are hard to break. JoeThanks, Film Joe
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