RED – workflow question

[Stephen Hill]

Why are you looking to change the framerate? Who is the final promo for? You client should have some sort of tech spec for final delivery so if it has been shot in say 24fps and deliver is going to be in 25fps then that seems a massive oversight to me. I can’t say I have ever heard of R3D files working natively in Color although I am not massively familiar with the app. If you only have the Final Cut suite of apps installed then perhaps you are best transcoding via Red Cine X to ProRes 4444. You need to nail down exactly what framerate you need to work in and deliver in.

[Adam Taylor]

if you knew anything about broadcast commercials being shot for one market then re-purposed for other overseas teritories, then you wouldn’t have even made your comment!

Many times we get material that we have no say over the framerates etc, because it was not our shoot. We have bought the product to sell and the ad is often part of the deal.

Adam Taylor
Video Editor/Audio Mixer/ Compositor/Motion GFX/Barista
Character Options Ltd
Oldham, UK

http://www.sculptedbliss.co.uk
My YouTube Animations Page

[Stephen Hill]

Lol! Adam, I am trying to help you!? I worked in Commercials for 12 years so I have done my fair share of re-versioning and re-editing. Your original post was vague at best and then you chose to berate me rather then volunteer any further information.

[Rafael Amador]

Unless there are audio pitch issues, the best way to go p24 > p25 is conforming with CinemaTools.
You can’t do that with the RED stuff, but you can transcode to Prores 444 and conform those files.
No need for proxies.
rafael

[Michael Gissing]

If you intend to use the RED files to grade in Color then you have to create ProRes files with the same frame rate. Everything must match – naming, timecode reel number so that you can reconnect the send to xml with the r3d files.

After grade you can do frame rate conversion, either by speeding up to 25 using Cinema Tools for each shot or output a final timeline and convert that. If the final is 25 then you will have to compensate the duration during the edit to end up at the correct final duration and the mix pitch will need to be corrected when the file is sped up.

Tools like Red Cine X or Log & Transfer (with the red plugin installed) can be used to create this offline/online workflow with reconnecting in Color or da Vinci. Otherwise you have to grade the ProRes files if they have had their frame rate changed prior to edit.

[Adam Taylor]

well thanks for trying…but to be clear – it was you started the berating by lecturing me on delivery specs, then by admitting you dont actually know about the workflow i was enquiring about.
if i came across as brusque, my apologies.
adam

Adam Taylor
Video Editor/Audio Mixer/ Compositor/Motion GFX/Barista
Character Options Ltd
Oldham, UK

http://www.sculptedbliss.co.uk
My YouTube Animations Page

[Adam Taylor]

Rafael, Michael – thanks for the input.

I had already set RedcineX to transcode the files to Prorezvwhen i left last night. This morning its still only done 49% !

I had come to the conclusion i would need to finish and grade the edit before framerate conclusion. Thanks for confirming my thinking was right.

adam

Adam Taylor
Video Editor/Audio Mixer/ Compositor/Motion GFX/Barista
Character Options Ltd
Oldham, UK

http://www.sculptedbliss.co.uk
My YouTube Animations Page

[Will Fiennes]

In my very very limited experience with Red, any Transcoding without one of these https://www.red.com/store/products/red-rocket – is a nightmare. I once tried to convert a 1 minute file as a test on a fairly new mac pro and it took almost an hour…..ouch