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Workflow for RED – transcoding etc. ADVICE NEEDED!
Hi all,
I’m seeking advice for a good, workable post workflow for a low-budget feature shot on RED at 4K.
Our first big hurdle is trying to work out the best method for encoding the rushes to Pro-res. When I have worked with RED work-flows in the past, we have always transcoded to Apple Pro Res HQ at 1920 x 1080, using Redcine. This has always been for short form projects and has been a good workflow, except that Redcine has always proved to be a nightmare to use and takes a long time to encode with a large volume of rushes.
We are therefore looking at converting the rushes using Log and Transfer, but my understanding of this at the moment is that files transcoded using this method will stay at 2048 resolution. Because of the volume of rushes and limited drive space, we are looking for a method which gives up reasonable file sizes…can anyone suggest a preferred work-flow? What is the most common workflow for low-budget features?
Also, does anyone have any experience of offlining using Pro-res quicktimes in Avid? Is this problematic?
Any advice greatly appreciated.
Editor / Colorist
http://www.petaridley.com -
5 Replies
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[Peta Ridley] “Also, does anyone have any experience of offlining using Pro-res quicktimes in Avid? Is this problematic?”
I am not aware that AVID supports ProRes which is an Apple codec. I know ProRes codecs for quicktime playback are available but AVID would likely prefer their HD codecs be used.
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You can use Log and Transfer to create your ProRes files for editing. Then, if you want to grade in Color in 4K, you can get there via creating a Cinema Tools database or exporting an EDL.
Kevin Monahan
60 Blu-ray Templates for Final Cut Studio 2009
http://www.fcpworld.com
Author – Motion Graphics and Effects in Final Cut Pro -
Thanks Kevin.
Does the same thing apply when editing with Proxies? This is one route we are considering taking…Any pros or cons to editing with proxies? Does the conform / grade workflow work the same way?
Peta
Editor / Colorist
http://www.petaridley.com -
Editing with proxies is not the recommended way to work with RED, although a lot of people do this. I think the best way, but least well known, is to create a Cinema Tools Database for your RED files. You can always get back to your 4K files in Color by doing so.
There are a lot of workflows with RED that are not widely known. You’d be wise to check out the https://www.reduser.net web site.
Kevin Monahan
60 Blu-ray Templates for Final Cut Studio 2009
http://www.fcpworld.com
Author – Motion Graphics and Effects in Final Cut Pro -
A quick note about log & transfer which I got from Red Tech staff.
L&T is not multi-thread so it will be very slow. I’ve experienced this first hand. It works and I’ve used it but on a feature you’ll waste a lot of time. RedAlert & RedRushes are both multi-thread so they will use all the cores of the Mac and make converting to ProRes much quicker. Again I’ve experienced this first hand.
Warren
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