|
|
All the news now and in your digital future|
RED workflow help! January 20, 2009 09:43AM |
Registered: 17 years ago Posts: 34 |
Hi.
We´re shooting a commercial on RED for the first time.
The finished edit is to be sent to a post house for 3d, grading and compositing.
I´m trying to find out the workflow for this.
I need to set up a 16:9 PAL sequence, the final dpx needs to be 1080p.
In the RED support document it states that Color can´t work with 16:9 aspect ratio wich means
that I can´t use it for dpx export. I have found some other apps that can handle this.
I´m thinking of ingesting as RED native and edit the commercial in that format.
Anyone have any experience of this?
How do I set up my sequence in FCP?
We´re shooting a commercial on RED for the first time.
The finished edit is to be sent to a post house for 3d, grading and compositing.
I´m trying to find out the workflow for this.
I need to set up a 16:9 PAL sequence, the final dpx needs to be 1080p.
In the RED support document it states that Color can´t work with 16:9 aspect ratio wich means
that I can´t use it for dpx export. I have found some other apps that can handle this.
I´m thinking of ingesting as RED native and edit the commercial in that format.
Anyone have any experience of this?
How do I set up my sequence in FCP?
|
Re: RED workflow help! January 20, 2009 12:42PM |
Registered: 16 years ago Posts: 530 |
Yeah have you considered shooting 2:1 instead and masking for 16:9 in Color using the Geometry room? At 4K you have tons of resolution for the downconvert. Also I'd get the Glue Tools DPX plugin for use within FCP.
[www.gluetools.com]
Also- make sure you have the Log and Transfer plugin for FCP from RED and the latest versions of FCP. Personally I think editing proxies and pulling DPXs using Crimson Workflow is a better workflow than Logging and Transferring everything- which would take a long time unless you have a fast machine and not a lot of footage. Either you'll spend a lot of time ingesting or a lot of time transcoding proxies later.
-Noah
Final Cut Studio Training, featuring the HVX200, EX1, EX3, DVX100, DVDSP and Color at [www.callboxlive.com]!
Author, RED: The Ultimate Guide to Using the Revolutionary Camera available now at: [www.amazon.com].
Editors Store- Gifts and Gear for Editors: [www.editorsstore.com]
[www.gluetools.com]
Also- make sure you have the Log and Transfer plugin for FCP from RED and the latest versions of FCP. Personally I think editing proxies and pulling DPXs using Crimson Workflow is a better workflow than Logging and Transferring everything- which would take a long time unless you have a fast machine and not a lot of footage. Either you'll spend a lot of time ingesting or a lot of time transcoding proxies later.
-Noah
Final Cut Studio Training, featuring the HVX200, EX1, EX3, DVX100, DVDSP and Color at [www.callboxlive.com]!
Author, RED: The Ultimate Guide to Using the Revolutionary Camera available now at: [www.amazon.com].
Editors Store- Gifts and Gear for Editors: [www.editorsstore.com]
|
Re: RED workflow help! January 20, 2009 01:00PM |
Registered: 17 years ago Posts: 34 |
|
Re: RED workflow help! January 20, 2009 01:51PM |
Registered: 16 years ago Posts: 530 |
Export and import yes. But if you get the DPX tool from Glue Tools you can view and export DPX from other applications like FCP and QuickTime Player. Without it you can only do this within Color.
It actually won't be a problem if you transcode to 1080p/16:9 say ProRes or uncompressed before going to Color.
Noah
It actually won't be a problem if you transcode to 1080p/16:9 say ProRes or uncompressed before going to Color.
Noah
Sorry, only registered users may post in this forum.
