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Online red footage 50fps to 25fps for slow motion
Hi there,
I’m currently editing a project shot on red at 50fps for a smooth slow motion effect when played back at 25. My offline files are transcoded to 25 to achieve this however it occurs to me that there will be problems when linking back to the quicktime reference files for the online export.
What I’m hoping is that because my sequence will be a 25fps timebase, there won’t be issues because the clip lengths will be adjusted to suit and simply require rendering, however I don’t know this to be true and also I wonder if the fact that all the offline clips are double in length will mean the timecodes for the cuts will be off when applied to the RED mov files.
Is this going to be a problem and is there a possible solution?
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5 Replies
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You better make a copy of the stuff that you want slowed down and conform it to 25fps on CinemaTools.
If you put 50fps stuff on a 25fps time-line and you slow it down, first of all, half of the frames will be dropped to match the sequence time base, then the remaining frames will be slowed down. You don’t get the same slowmo quality.
rafael -
Ah okay, I feared that. So copy the RED quicktime reference files and conform them to 25fps using cinema tools and then relink to those conformed files rather than the original 50fps shots? Is that right?
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[Jimmy See] “So copy the RED quicktime reference files and conform them to 25fps using cinema tools and then relink to those conformed files rather than the original 50fps shots? Is that right?”
I don’t understand why or how are you working with reference files.
rafael -
I’m using them only in the final stages after my offline edit.
I am working with transcoded ProRes proxy files for the offline. For the online I generate quicktime reference files in RedcineX, they reference the original .r3d media, it is these mov files that I conform my final cut sequence to for the online. It is my understanding that Final Cut Pro 7 cannot use .r3d format media, the reference files allow the original red media to be used without storage consuming transcodes or rewrapped duplicates.
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Well, I can’t advise you on this because I don’t have experience with RED stuff.
What I can tell you is that for the off-line you would need two versions of the Prores Proxy files, one p50 (for normal speed) and the other conformed to p25 in Cinema tools.
For FC there is not relation at all between a p50 clip and the conformed to p25, and FC doesn’t know if the files has been conformed or not. For FC are completely different files.
The p50 files will keep the relation with the RED files so they can be re-linked, but I understand that the p25 lose any relation with the original REDp50s tuff and can’t be relinked.
This what happens with FC and any kind of footage that you import or L&T. I don’t think with RED footage would be different.If you slow down in FC, then you would have no problem to relink (no conforming and no p25 files to deal with), but you won’t achieve the same quality slow down.
The workaround could be converting to Prores (Hq or 444) the stuff that you want to slow down, conform the files to p25, and make Proxis to off-line in FC. Then you will be able to relink to the high quality Prores.
This is just my think, but is possible there is a better workaround.
I don’t know if Shane’s tutorial deal with RED files:
https://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/
rafael
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