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R3D workflow question: FCP>AE>Resolve>AE
Hello,
I am about to be handed a project from an AE guy who conformed to the original R3D files after receiving an xml from an FCP offline editor. He apparently used AutoDuck to import the fcp xml properly in AE and reconnect to the r3d files – he did some moves and re-po’s etc with the 4k shot and delivery is 1080 – they now want to pass it off to me for grading and I just want to see what makes the most sense here.
My thinking is that its best to also use that fcp xml he got and go back to the R3D files to grade with since its a broadcast spot and then pass back full res 4K ProRes444 renders for him to bring back into AE and do the needed moves and re-po’s etc before spitting out a final for 1080 broadcast delivery. Would this work so he could just reconnect to my renders instead of the r3d’s in his AE project??
The other option i thought of is that he renders out a 1080 ‘flat’ ProRes444 file with all the moves etc to me along with an xml/edl which i then could use to scene detect in DaVinci and grade – thereby sending back a 1080ProRes444 graded version for finishing & Delivery. I just want to have the best quality here for grading and delivery but of course there is a tight one day turnaround so trying to what makes the most sense as well!
Curious to hear some thoughts on best approach on this one.
thank you
andrew -
5 Replies
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You probably get more latitude working with the R3D files. If the AE guy isn’t working in floating point space he could loose something rendering out. I think the best work flow is your grade, export, reconnect in AE, export 1080. Thought it would probably be slower.
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What sort of timeline does the project have after it’s colored? If there is a short finish window and there are a lot of FX works that need to be rerun back through AE then the timeline may dictate going with you grading a flattened sequence at 1080. If it’s broadcast 1080 you can get away with this but if you haven’t already make sure you see what the AE debayering of R3D’s at 1080 looks like before you say yes.
If there is a timeline that permits it’s always nice to go back to R3D files.
Did they do anything other than relinking to R3D files and executing image repositions in AE? If so not sure why they did nto skip that and go straight to you and Resolve? The xml from FCP ports over the image repositions just fine into Resolve. Then you could render out final graded shots at 1080 back to FCP, AE or wherever it is being finished.
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Thank you for the replies guys
Chris,
I believe there were no repo’s in fcp just used transcoded ProRes files to do the cut and for whatever reason yeah the AE artists then used autoduck to reconnect the xml in AE with the R3D files and as far as he says he then did some moves and such with the 4k shots – anyways i am in another state and with only a few days turnaround we could overnight fedex back and forth of course but i am also open to the 1080 baked out edl/scene detect approach as long as the debayer quality of what he passes off to me is really good i guess? -
And all in just one short sentence.
Be careful working with RAW R3D, AE and Resolve RGB in ProRes 4444 as the scaling is vulnerable in that format if the RGB 0-1023/94-940 gets screwed up.
jPo
You mean “Old Ben”? Ben Kenobi?
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ha yeah sorry for the lack of punctuation Joseph!
So are you suggesting i stick with ProRes HQ or what to do if i use 444?
Also in terms of the actual workflow here, what do you suggest?
thanks
a
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