Onlining Red Feature & new options since FCS3

[Russell Lasson]

First off, I’m actually a Scratch artist and can tell you it’s a very great machine. I started with Final Touch and then Color and it is also a powerful system. I prefer Scratch for several reasons.

But the biggest difference will be the colorist. A great colorist will do a great job with either program. It might not be quite as fast with Color than Scratch, but creatively, both programs offer enough tools that if someone who know what they’re doing is running it, you’ll have a lot of flexibility.

[Uli Kunkel] “- Should we consider ProRes 4444 for our finishing rather than onlining with R3D as originally intended?”

I would still use the R3D files for coloring regardless of which system you use. That’s the original file. ProRes 4444 won’t offer any more.

What I would do is render either finished master to ProRes 4444. Color will render directly to it and Scratch can render to 16-bit Tiff files that can be converted to ProRes 4444.

[Uli Kunkel] “the process of batching “Native” per the Red whitepaper on FCP workflow should now allow for a 4K color grade in Apple Color, correct? “

I’m installing it right now and I’m going to see what’s changed.

[Uli Kunkel] “- The new version of Cinema Tools now offers the ability to import R3D clips and treat them like film rolls that correspond with transcoded footage in the timeline. If we go with an R3D online workflow in Color, will we have to use Cinema Tools and re-batch all of our footage so that Color links back to the R3D? “

Haven’t tested it yet, but it should just be creating a database in Cinema Tools. You shouldn’t have to re-batch through FCP. I’m going to get this figured out soon as I can’t find good documentation on how this process works.

-Russ

Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net

[Hector Berrebi]

hi Uli

did you see this link?

https://documentation.apple.com/en/finalcutpro/professionalformatsandworkflo...

it has workflows for different formats and Final cut 7

RED included

and another thing…

as R3D is quite massively compressed and so is ProRes 4444 (though much less than R3D) do you think its a good idea to grade from ProRes compressed R3D?

your initial plan was to work on a Scratch, which works native with R3D

Color works sort of native with R3D and hopefully much smother and better in the new version.. (which supports 4K)

why go through a 2nd compression?

i didn’t test ProRes 4444 yet, and maybe i’m all wrong and results are immaculate. However, its hard to believe that transcoding R3D to ProRes would result in better behaving files for grading than going native

hope this helps

Hector Berrebi
Schibber Group
prePost Consulting