Monitoring Red for Edit.

[Chris Swartz]

Ok so correct me if I'm wrong here, but once Redcode RAW has been dropped into a FCP timeline there is no way to monitor it to an HD display?

The only way I've heard is to transcode to ProRes, or some other codec and preview it 2k out from an AJA or Decklink card. Is this correct?

So a practical workflow for a 4k finish would be.

1. Shoot 4k
2. Transcode to 2k w/ProRes? (So we can see it on an appropriate display)
3. Edit in FCP
4. Kickout EDL
5. Somehow matchback to orginal footage.
6. Color Correct in highend app
7. Output to Digital Cinema Server or filmout.

2k is just gravy, transcode to 2k and stay there!


Some questions.

How are we to accurately work with footage we can't even view on a display?

What programs can we use to matchback from our 2k offline to our 4k online?

Scratch is supposed to handle the Redcode RAW natively, but how much is Scratch, and isn't it a windows only solution? (I don't know much about Scratch so I could be completely wrong here, I'm assuming it's ridiculously expensive since they didn't even have a booth at NAB, only an appointment only demo. That says $$$ to me.)


What does your workflow look like?

Chris

[Graeme Nattress]

I thought we had 1k REDCODE playback over the Kona working in the office?

And the other answer is: why do you think we're working on 4k displays and Projector?

Graeme

[roryhinds]

Hi Graeme

Will the RED 4k monitors be Colour Grading quality monitors for colour critical monitoring like a Cine-tel or eCinema?

Or just a reference monitor like a Panasonic, Sony or JVC?

Regards
Rory

[Chris Swartz]

I know you guys are working on 4k displays and projectors and that's really exciting and all, but I'm sure there will be some lead time till those things become a reality, especially when the camera is just making it's way to reservation holders.

1k to the kona is good, but 2k would cinch it for me, until you bring out those 4k display options.

Any info on an offline matchback process? How that might work?

Chris

[Graeme Nattress]

No idea yet....

Graeme

[sander kamp]

Hi Graeme,

When working with REDCODE in FCP can you zoom in to 1:1 pixels? I guess that won't play but can you at least check focus that way?

Sander

[Stuart English]

What is your definition of an HD display ?

Where did you hear that you can't see the footage on a monitor when editing REDCODE RAW ?

[AJSchmidt]

Just a clarification for a post earlier. 1080P (1920x1080) is not 2K. 2k is 2048 x 1536. 4k is 4096x2160. Apple's ProRes is 1080i 60 or 1080P 24. Coming from the Pro HD world, the worst thing is the compression used to transmit beautiful HD, in good scenarios (HDDVD/BluThing) it's 4.5MB/s; that's 50:1. And cable/sat knocks that down to 2.75MB/s at best (over the air PBS). Most digital Cine projection systems use some sort of JPEG2000 compression that dose work, but at only 8bit color. Heck Tremors 2 did all there SFX in SD DBeta, and no one in the audience was the wiser.

Adam
http://adam.pnn.com

[Jonathan Smiles]

>How are we to accurately work with footage we can't even view on a display?

It's the same as working with 4K film, you zoom in to 1:1 pixel size or greater to see fine detail and you have a calibrated display in combination with 3D LUTs for colour accuracy.

If you budget runs to having a 4K projector for viewing rushes/dailies you watch your footage on it otherwise take your footage to a screening room or grading theatre with 4K projection and watch it there.

Currently it is more practical to hire a room with 2K projection as the majority of DI and Digital Cinema infrastructure is geared to 2K.

Screen size is also important as small screens are very flattering and hide problems, this is mainly an issue for normal full screen playback as for effects and normal editing you can zoom in.

>What does your workflow look like?

My workflow looks alot like a Super 2K film DI workflow (4K 35mm scan
downsampled to 2K), with 2K 35mm filmout, 2K Dcinema, HD and SD deliverables.

4K deliverable is actually quite straighforward, but it's a big hit on the budget for a 4K grade and 4K 35mm filmout.

[Brian Broz]

Did anyone get a chance to see the NHK Ultra HD demo at NAB?

There were several 4K monitors lining the booth showing 8K footage downconverted to 4K...truly stunning! I believe these displays are made by ASTRO and my guess would be 42" to 50" size.

I'm sure the price is out-of-this-world, but the technology is out there.