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RED/5D Final cut workflow
Hi everyone, I have been working with RED and 5D files for almost a year now. But I think my workflow is not really efficient. I am looking for some advice to improve the workflow.
I used to use Compressor to transcode the 5D H264(30fps) to Pro Res 422, it’s a bit slow, but it works. But it got a lot, a lot, slower if I use compressor to transcode 25fps H264 files. So slow that I gave up and use MPEG streamclip now, it’s quick and stable.
Then I import the files into FCP and start editing as usual. I also export the the offline edit in Pro Res 422 for grading and delivery.
As for the RED workflow, I use REDCINE-X to transcode the R3D files in to Pro Res 422. It’s not very quick, due to file size, and it’s not very stable neither. Is there better solution?
After that, I import the files into FCP just like the 5D workflow. But when it comes to grading, I export a EDL from FCP and send the original R3D files to post production company for grading.
I am just wondering that does this workflow make any sense to you? My main problem is that it takes me a long time transcode the files to Pro Res. Also, I have to deal with two sets data which take up a lot of space. I am not really sure about the Pro Res workflow. On the other hand, people request Pro Res 422 for final delivery. Any thoughts?
Thanks
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3 Replies
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There are many ways to skin this cat, but I would add a couple of suggestions:
1) Use Magic Bullet’s excellent Grinder app to speed up 5D transcodes (especially if you’re on a octo-core system) – it’s worth every penny. It also makes BITC proxy files for viewing rushes, and allows for TC to be carried through the process, via restriping.
2) You can now use EDLs in REDCineX, or make offline and re-link the R3Ds and send to Color to grade yourself. This allows you to do a faster log and transfer in FCP, then only encode what you need later. I haven’t tried the EDL support in REDCine – it’s pretty new, so can’t comment on how good it is. For all your re-linking needs, you should probably be using Clipfinder.
3) A lot of people are transcoding to ProRes4444 instead of working with R3Ds at all – it’s not as good as RAW for grading, but works ‘well enough’ for things like broadcast.
4) RED is a lengthy post process however you look at it. There is no quick or easy solution, and every single post person I know has a different workflow. Getting it reliable and stable is often more valuable than speedy, so if you have a method that works, proceed with changes at your own risk.
RED’s own forums are an excellent source of info for all of this.
Edit Out Ltd
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FCP Editor/Trainer/System Consultant
EVS/VT Supervisor for live broadcast
RED camera transfer/post
Independent Director/Producerhttps://www.blackmagic-design.com/casestudies/detail.asp?case=therydercup
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For your 5d footage you may want to check out DVFilm EPIC for Mac. It is a real time workflow tool that allows you to edit DSLR H.264 Quicktime files in real time in Final Cut Pro using FCP’s RT Extreme features, but without the tedious transcoding methods of the past that slow down your workflow.
https://dvfilm.com/epic/mac/index.htm
Hope this is helpful.
Dave Keslick
DVFilm.com -
Have you configured Compressor as a cluster on your machine? ON default Compressor doesn’t use all Cores.
In Qmaster you can configure this quite easily.
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