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Red format mixed with HD footage
I am about to start a project. This is the first time I will be using the RED camera, I will be using a DP who has used it, but this is more of a post question as I will be editing the project in FCP. I am shooting original content on the RED to mix with boxing content shot in HD, I think HDCAM, still waiting to find out.
My question is being totally new to the RED workflow and having to deliver this master in some form of highend HD tape, HDSR maybe? I have to ask a different company to provide me the HD sports footage and I have an opportunity to have them digitize it and send QT files on drives and Im not sure what format I should ask them for. Pro ResHQ? How should I set up my project in FCP. What codecs do you use for editing RED footage in FCP. And what kind of online process is there? Its a proxy file you edit with correct? How do you edit this and an online HD format in the same timeline?
I will have to do some compositing on all of the footage to stylize it and want to make sure that my footage looks amazing after I have had to render it and output to tape eventually for HD broadcast.
thks, treading new water here..
Paul
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5 Replies
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Simplest answer – in 1080i/p you want to work in ProRes. ProRes HQ, as has been detailed here on numerous occasions, is not required for anything below 2k timelines. ProRes ‘standard’ is still 10bit.
In order to do this, you will have to render the RED footage out as ProRes. You can do this yourself using REDCIne and the excellent Clipfinder. Have a look over on REDUser to see workflows.
Some people are now rendering out RED footage in ProRes444, which is 12-bit, and in theory gives greater latitude in grading, but with the advantage of dropping into a standard ProRes timeline. Genuinely – I would not bother.
Although you will have to settle on a ‘look’ for your RED footage, or a neutral ‘one-light’ grade of the material in REDCine before you render it out to ProRes, not giving the full latitude of native R3D grading in Color, the benefits to you of being able to mix the HDCAM and RED footage in a very high quality codec outweigh any possible problems.
Edit Out Ltd
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How do you intend to do the onlining and finishing work? On your own with FCS or will you send it out to somewhere for color? This is the main question that will determine how you work with the rest of your workflow.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
At the Denver FCP User group meeting last week, Bryce from AJA showed us a comparison of ProRes 422 and ProRes HQ. Same uber quality picture as source. They performed a routine on the pictures after each was compressed to various formats, which resulted in showing only the noise associated with the images… had it in HDV, DVCPROHD, uncompressed HD, and flavors of ProRes. Holy smokes! I couldn’t believe how much noise was in DVCPRO HD and HDV, and the others… there was a LOT of noise in all the formats except ProRes and ProRes HQ (and uncompressed of course). But there was DEFINITELY more noise in ProRes (appeared to be at least twice as much in fact) than there was with ProRes HQ. Same shot original, and NO movement in the frame at all. Amazing. Hopefully Bryce will show this in the Booth at NAB to everyone. It’s an eye opener for sure.
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski.
8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX Cinema Displays
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Thks for the responses everyone. I will be delivering on HD yes, however I want to do some compositing and an outside color pass by a davinci on the final before dumping to tape. To me it sounds like Pro Res HQ is the way to go with the “fight” footage.
Paul
Paul Harb-Producer/Director
Wrong Beach Multimedia
Dual 3.2 GHz Quad/10.5.5/8GIG RAM/FCP 6.0.4/QT 7.5.5 -
Online would be done in FCP. However color I would take to a “real” colorist. There is a specific look I am going for with color. The “fight” footage would be HD video, that I think I will ask for in PRO RES HQ. Again not ever worked with the RED workflow, I need to still figure out the offline/online workflow for this project mixing these formats in my timeline.
Thks again for everyones help.
Paul
Paul Harb-Producer/Director
Wrong Beach Multimedia
Dual 3.2 GHz Quad/10.5.5/8GIG RAM/FCP 6.0.4/QT 7.5.5
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