RED using Cinema Tools

Okay, I finally managed to download a few red clips that can go through L&T from here:

[rojolooks.com]

So far, I can L&T, I can recapture as native and grade that in Color. But I'm trying the Cinema Tools route (create a database and link it up in Color), but Color doesn't reconnect to the R3D directory, so the clips are read as offline. Anyone knows what is going on?



www.strypesinpost.com

What are you exporting from CT to reconnect to Color? I'd use Clipfinder instead, unless there is a reason you want CT in the workflow (change lists or audio EDLs.)

- Justin Barham -

Hmm... How does CF work? Let's say you log and you render the clips, how do you get that into FCP?

As far as CF goes, I've only managed to get renders out with Redrushes, and conformed that to the F proxies to send to Color, but the media organization isn't happening, as everything needs to be in the root directory location or within the RED subfolders.

I was trying out the FCP/CT/Color workflow:
-Create a database from the RED directory
-L&T to ProRes Proxy
-do a short edit, export EDL
-open EDL with Color and connect to the CT database

I seem to be doing everything right, but the clips just aren't connecting in Color.



www.strypesinpost.com

Oh OK I see. I haven't tried that way myself. I'd check the EDL to see if the reel info is exactly matching the reel info from the CT database.

What I have done is 1) transcode to ProRes in RR, RCX, or CF, 2) edit in FCP 3) convert the XML in FCP (links to actual R3Ds,) 4) and then grade in Color.

- Justin Barham -

>I'd check the EDL to see if the reel info is exactly matching the reel info from the CT database.

Good idea. I just did. It looks as if the reel name is truncated to 8 characters and the reel name is the now truncated clip name. I'll check tonight see if that is the cause of the issue.


>3) convert the XML in FCP (links to actual R3Ds)

R3Ds or the _F proxies? And where do you store the offline ProRes clips? In the same folder or separate? I couldn't get CF 2.2 to link up with the clips if they were on a separate folder away from the Red mags.



www.strypesinpost.com

Opps that was dumb of me. Doing too many things at once again. I meant to tell you to convert the FCP XML using Clipfinder. That's the way to relink to the R3Ds from the offlines before Color. I don't have time to test it tonight, but I've done it in the past with earlier versions of CF. It's a relatively common RED workflow for smaller projects.

You might find the RedUser workflow forum helpful as well. They have an Apple-specific area, and there is helpful Clipfinder chatter in the "Tools" section. The apps's author, Hans something, is extremely helpful and friendly.

There are of course a ton of different RED workflows. The one that has worked for me is this:

1) Transcode to ProRes offline files. I've used Clipfinder in the past because it's streamlined and I can easily paste simple grades. More recent RED builds have required RedCine-X though. I generally like to burn in the reel name and TC (TOD not edgecode) during this. And they're organized in a normal dailies fashion in the Finder, away from the actual R3D files. The R3D QuickTime proxies should always stay in that directory with their R3Ds. They just point to the R3Ds wrapped in QT. FCS uses them to "see" the R3Ds.

2) Edit away in FCP. Obviously the names are changed in the Browser but never in the Finder.

3) When the cut is locked, prep for conform in the standard way.

4) FCP picture XMLs and/or EDLs are exported for grading and finishing. If going to Color, the XML is first treated with the Clipfinder magic (Tools > Run conform on FCP XML file...). Clipfinder then allows you to point to where the actual RED files (not the ProRes.)


This is just one of many ways. I actually forgot that in FCS 3 CT can be used to track the R3Ds. That could be very helpful if you're going to track a CT database anyway. I'm anxious to test that out once I get some time.

Of course some people just transcode via L&T, or use L&T to link to the R3D QT proxies and cut those. (I imagine that would make it very easy to jump over to Color). I can't say that's the way for me, but they are available. I like making comparatively svelte HD offline files to cut with, and get back to the R3Ds after lock.

Hope that helps some.

- Justin Barham -

>I actually forgot that in FCS 3 CT can be used to track the R3Ds.

What I'm seeing is that the 8 character limit on EDL reel names makes the workflow pretty cumbersome.



www.strypesinpost.com