4444 vs. HQ for green screen

[Shane Ross]

[Jake Diamond] “Will doing green screen work on HQ clips work well enough? “

Absolutely. Coming from RED…even more absolutely. Unless you will be outputting 4:4:4 to HDCAM SR, going to 4444 ProRes makes little sense.

[Jake Diamond] “And second…they only have firewire 800 drives. I’m imagining 4444 won’t even play on those, correct? “

No…they won’t. Well, they will, but not smoothly.

I love this. CLASSIC example of the situation we are faced with today. They will go out and shoot on a RED camera…go all HIGH END on the production side, but then in post…skimp. Use FireWire drives for media storage of ProRes HQ and 4444. That’s just wrong. eSATA MINIMUM…MiniSAS and Fibre and GigE Ethernet people! Post isn’t an afterthought! (This is directed at your bosses, not you).

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Jake Diamond]

Thanks Shane. Very helpful.

[Shane Ross] “I love this. CLASSIC example of the situation we are faced with today. They will go out and shoot on a RED camera…go all HIGH END on the production side, but then in post…skimp. Use FireWire drives for media storage of ProRes HQ and 4444. That’s just wrong. eSATA MINIMUM…MiniSAS and Fibre and GigE Ethernet people! Post isn’t an afterthought! (This is directed at your bosses, not you).”

Yea, I know. Mind boggling to me as well. I didn’t think anyone used firewire drives anymore. Thank you again.

[Jake Diamond]

[Jake Diamond]I will be cutting a 30 second spot shot on the RED camera, with the final delivery being HDCAM SR for broadcast. I am told there will be no time to go back to the original red files (very fast turnaround), so the files will be transcoded to Pro Res HQ. “Will doing green screen work on HQ clips work well enough? “

[Shane Ross] Absolutely. Coming from RED…even more absolutely. Unless you will be outputting 4:4:4 to HDCAM SR, going to 4444 ProRes makes little sense.

Shane

So now after transcoding to Pro Res HQ and everything’s great, I’m told they want to do a color correct on the original RED files. Apparently some miscommunication between director/producer.

Hopefully, my last two questions:

The transcoded pro res files have the same name as the RED files. Can I edit with the pro res footage, and make an XML from final cut that will be used for a scratch system that will match up with the original files?

Second, I need to do some green screen work and a few other VFX shots in After Effects. What’s the workflow for this? Can I give the Online Editor my finished AE project and he’ll replace the pro res footage with the red footage in the comps?

Thank you again for all your help.

Jake

[Shane Ross]

If only I had worked on a project that used RED…I’d know the workflow. Sorry, but I don’t.

Look for guidance at reduser.net.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Jake Diamond]

Understood. Thanks.