Which is better for post – the Sony F23 or the RED?

[David Bertman]

HI Gary-

Actually I have had very little experience working with LUTs and RAW files. However, I don’t think I would even be handling them. I think the post house who is doing the down-conversion and giving me the best-light quicktime dailies would be converting the sequence when I am done.

If I understand the process, that obfuscates the need for intel only macs (although, all the macs in my cutting suite are intels). I assume I would work with some low bandwidth nice looking codec like Prores 422 or even DVC Pro HD.

Thats why I am concerned. The workflow seems way too easy. The footage goes from the set to the post house. They add the LUT and downconvert for me. I cut with the smaller quicktimes then give the post house my sequence. They swap it out with the good picture… What am I missing?

David

[David Bertman]

I dont get a lot of calls for commercials. 99% of the calls I get are long form.

But you could be right about bringing someone on who has done this before. What I gather from talking to people though is I will run into problems if I try to do in the cutting room what is usually done in the post house (eg getting the camera original files into a format I can edit with and then back to the camera originals when the editing is done)…

David

[Gary Adcock]

[David Bertman] “If I understand the process, that obfuscates the need for intel only macs”

That was for the RED R3D workflows, if you are planning on having someone else handle the file conversions or capture then go to ProRes and stay there no matter which camera you shoot on.
That will allow you to bypass a variety of issues with the files and DVCProHD’s 8 bit compressed workspace.

“They add the LUT and downconvert for me. I cut with the smaller quicktimes then give the post house my sequence. They swap it out with the good picture… What am I missing? “

In this you totally miss the simplicity of working with ProResHD content in the same manner that you used to work with SD content. With a 10bit ProRes workflow there is no need for the offline online process not need to pay for a complete re-conform. Just hand off the editing project to the finisher and let them handle it, as HD without timecode issues, frame rate issues, without all the hassle.

stay in hd and have more time to do things

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

Inside look at the IoHD
https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Hector Berrebi]

i stand corrected.

thx 🙂

work a lot with RED, quite often this past year
would rather work with SR, 🙂 But no SR’s (decks or cams) around… little to no actual workflow experiences with it.

very familiar with other high-end tape workflows

and do think its a simpler way to go

so, no 12 bit on SR at all? i always thought there was a way to do it…

Hector Berrebi
Schibber Group
prePost Consulting