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Red feature output to HDCAM 1080i/59.94 — festival screening questions
Hi everybody,
I’m screening a red feature shot in 2K at a festival in a month and I have a few simple-ish questions that I’m sure somebody here can answer.
1) If the festival screens in a rec. 709 color space, should I set my redcine render setting to rec. 709 or redspace? Redspace looks way better.
2) I am sending my vfx shots to our flame artist as DPX — when I lay the shots back into my onlined sequence, what the hell am I doing exactly? Somebody run me through this.
3) Once I run my r3d’s through crimson workflow, and re-establish my sequences in redcine, what is the best uncompressed setting to render out to for my final FCP sequence? This will be the setting I will do my color correction in, and eventually print out to tape with. Do I need to be in 4:4:4? 10-bit? 8-bit?
4) I do not own a Kona3. I don’t own one, and I keep hearing a million different things about it. I need it, I don’t need it, etc… If I am working on a 30 inch apple monitor, with a Spyder 3 Elite calibrator, set to a 2.2 gamma with native white point set up, then will I be able to do my color correction right here in a true visual space? Or a relative one? What’s the deal?
5) For some reason when I import my XML into redcine after I’ve opened my cowboy intermediate folder, there is this weird thing that happens where a SINGLE, RANDOM FRAME from a shot shows up at the end of another shot. What am I doing wrong?
Help! Please. Thank you.
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4 Replies
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[Joshua Trank] ” I do not own a Kona3. I don’t own one, and I keep hearing a million different things about it. I need it, I don’t need it, etc..”
you need one if you are planning on laying to HDCam tape – there is no other way HDCam decks only accept data over HDSDI
[Joshua Trank] ” If I am working on a 30 inch apple monitor, with a Spyder 3 Elite calibrator, set to a 2.2 gamma with native white point set up, then will I be able to do my color correction right here in a true visual space?”
Apple’s Computer monitors are not suitable for color correction in a video space. without a blue gun you cannot correctly setup a display to SMPTE’s standards for displays.
gary adcock
Studio37
HD & Film Consultation
Post and Production WorkflowsInside look at the IoHD
https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php -
Thanks Gary. What would you recommend as a low cost solution? What do I gotta buy?
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By the way, I plan to lay off to HDCAM at a post house. I am going to to do the color correction and R3D onlining from home.
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If you’re going to do a final color correction in Color, I would suggest you read the latest whitepaper on how the latest FCS2 works with RED files.
Go to RED’s support page and download the RED Final Cut Studio 2 Installer. Read through the whitepaper, do some tests on your own, then come back and let us know if you have other questions.
-Russ
Russell Lasson
Ridgeline Digital Cinema Mastering
Universal Post
Salt Lake City, UT
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