Joe Hedge
Forum Replies Created
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Gary thank you for the response, if I might crave your further indulgence…
In the workflow described below…
https://www.indie4k.com/archives/110
…you are told to conform your sequence to the _H proxies for grading in Color. You are saying the proxies are 8 bit. Why am I going to the trouble of sending 8 bit proxies to Color when the intent is to grade the 12 bit R3D’s?
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“Using this method, I’ve created small edit version of RED files using REDRushes, then reconnected them to the Native QT wrapped R3D file that you import using Log and Transfer.”
Let me ask, a) if you’re getting full framerate playback w/o stuttering in the timeline, and b) if the answer is yes, if this is because you’re coming off of a RAID 5 set-up with a Kona card that handles the processor-intensive playback of proxies. I think a lot of people (myself included) read posts like this, about editing with proxies, and don’t realize the souped-up hardware being used.
Also what exactly is the advantage of using the Native-wrapped R3D workflow when you can just import the camera proxies? Do the natives playback better than the camera proxies?
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Gary
One thing I do not have a misconception about is that I have misconceptions haha. Part of my learning process is throwing ideas out on these forums and getting smacked down. If you did not do so already and I am just too thick to understand, could you tell me if there is any benefit in CC’ing 12 bit R3D proxies when you are finishing in 10 bit (or less) video, and you can’t see 12 bit on practically any monitor anyway?
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As detailed in the Indie4k workflow, to conform back to the R3D’s you export an XML of your FCP sequence to ClipFinder, which will switch your clip names to the camera QT proxies and change your sequence resolution settings to match. You could also just simply change the clip names of the clips in the FCP Browser window manually,by adding the _H extension to the clips in the Browser so they match the proxies, File>Reconnect Media, and change your sequence settings to match.
I agree that you get the best image quality from downrezzed 12 bit R3D’s. But by transcoding everything in RR at Full Res Debayer, scaled from 4k to 2k (which gives you the downsample-from-higher-res benefit), and color correcting those 10 bit ProRes HQ clips in FCP, you might get marginally lower quality results with inarguably less hassle (no EDL, no online, no recreating your titles and effects after Color, etc).
The drawback with the above is the amount of time full res debayers take. But you could transcode everything at 720p half-res first, edit, then go back to the R3D’s and full res debayer, scaled 4k/2k transcode the clips in your sequence. Like I said, it’s a tradeoff between 12 bit color vs full res debayers, because Color will not crank out full res debayered QT’s. Pick an R3D, CC it’s proxy in Color, then take that same R3D and full-res transcode 4k/2k scale it in RR, and 3-Way Color Correct it in FCP and see what you think. I myself am pretty sold on full res debayers.
Some other good stuff on this thread
https://www.reduser.net/forum/showthread.php?t=29732
If anyone sees any flaws in my thinking here please post up, thanks.
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“Red Rushes will make it VERY hard to retrace your project back to RED. If you Log and Transfer your ProRes files, it will be MUCH easier to go back.”
Like I said RR is multi-processor aware (huge advantage time-wise over L&T on a dual or quad core Mac) and will give you full res debayers. FCP, no on both counts. And it’s only hard to retrace back if you use FCP Media Manager. Exporting an XML of your sequence to ClipFinder works like a dream. And for short sequences without too many clips, you can just do it manually by changing the clip names in the Browser to match the proxies File>Reconnect Media, and changing the timeline resolution in the sequence settings.
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One final word: RedRushes is multiprocessor aware, Final Cut Pro is not, so the transcodes will go faster in RR on a dual or quad core Mac.
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“…most likely we’re looking at an HD output maybe to HD cam SR, but the director and DP would like to do the color correct with the raw files in order to get the best image quality, not sure if I’ll be doing that or if they’re going to pay for it to get done at a facility.”
Going out to HD Cam SR would also pretty much negate the benefit of CC’ing the R3D’s, wouldn’t it? Or would the resulting downsample from the R3D’s to HD Cam result in a better quality image than if you had stayed in 10 bit? hmm…
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Follow this workflow, note he’s talking about transcoding with RedRushes in step 1.
https://www.indie4k.com/archives/110
Also you might consider transcoding everything in RR at Full Res Debayer to ProResHQ, scaled to 2k or 1080, Resample Filter set to Lanczos (Sharp), and editing/color correcting those, instead of going back to the R3D’s for CC. That way you get the advantage of 4k files downsampled to 2k, at full res debayer, but at 10 bit color. You only get Half Res High debayers (see System Preferences>RedCode) rendering out of Apple Color, so by CC’ing the transcodes, you would be trading the greater color information in the R3D’s for the better debayering in the ProResHQ’s.
Test both the above workflows on a single clip, and you might find that the full res debayers actually look better.
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Another thing to look at is to go into your Disk Utilities program that is part of the OSX and see if the drive is formatted as Extended (Journaled) as external drives should be. Also be aware that as drives get filled up, or as they go through lots of write/erase cycles without ever being reformatted or defragmented, performance goes down.
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Is it set up for Raid0 or Raid1?