Autodesk Red Workflow

[gbalaji]

hey guys,

Simplest workflow would be take FCP edl and create dpx log using monkey extract is faster and easier. Would like to add one more point. Files out of RedCine is little softer than RedLine since sharpness added default to redalert and recline which is not the case with RedCine.

[Nook Kim]

What a great reading! I've been waiting for Red to publish something like this. Thanks Autodesk team.

[Nick Shaw]

It is our Final Cut dept. that maintain that in FCP the Time of Day code is not used. They say that the edge code, which on a small commercial shoot will be unlikely to exceed 03:00:00:00, is what is used and finds its way into the XML.

....

Please let me know if you think there is a way for FCP to use TOD code and why Autodesk recommends it.

This is not correct. When working with the proxies in FCP the timecode can be either ToD or edge code, depending on what was set on the camera as the 'primary' timecode. You can also change it in Red Alert by re-making the proxies. In fact the default in Red Alert is ToD, and "Use Edge Code" is a selectable option.

Also if you do not use the proxies, but convert in RedRushes, you can choose which timecode is used. And RedLine has "--useEC" as one of its arguments, and will use ToD otherwise.

[simonpeterarnold]

Nice to see Autodesk using the same workflow I use already for their systems. Only 9 months late to the party.

[simonpeterarnold]

Hello Marc-André
Background is that I'm an Inferno Op trying to establish workflows for Red material between FCP and Smoke/Flame/Inferno for our post work on TV commercials. It is our Final Cut dept. that maintain that in FCP the Time of Day code is not used. They say that the edge code, which on a small commercial shoot will be unlikely to exceed 03:00:00:00, is what is used and finds its way into the XML. TOD code can by definition go up to 23:59:59:24 (25 fps).
Anyway if we export from Crimson a series of DPX's with edge code, the subsequent conform or relink in Smoke/Flame/Inferno works. With TOD code, the material doesn't match the XML, is not "found", and the conform fails.

Please let me know if you think there is a way for FCP to use TOD code and why Autodesk recommends it.

Marcus
Molinare Barcelona

Never had this issue. All but one of the 6 projects I have been involved with have been TOD code edited in FCP and had no issues.

[lpelot]

Has anyone successfully edited with RED 59.94 proxies in FCP, rendered to DPX through Crimson and conformed in Smoke.

I have had plenty of success with 23.98, but 59.94 is not working.

If you have the answer please include a step by step procedure, so my head will stop hurting from trying to figure it out.


Thanks for your help.

[Gregor Hagey]

Is their a typo under Video Deliverable in the Brightness parameter recommendation for Redcine? It says 25, but my tests show that .25 is what works quite well.

Also, under Film Deliverable the Exposure parameter is recommended to be -2 for Redcine, but my tests shows that -.2 is what works well.

Of course these recommendations are good starting places and each image should still be checked before rendering out for an online.

[Marc-Andre Ferguson]

Hi Gregor, how are you doing?

Ah, the typos in our doc...
The original values were based on RedCine, and most of them got fixed for RedAlert, since I was suggesting that users use Crimson to import their R3D files.
So, you're right about the values you use.

[arythmic]

So is FCP -> CRIMSON (DPX) -> Flame/Smoke still the best workflow ?
thanks

[Alex Dobbie]

If you listen to the latest red centre podcast it sounds like there might be native support for R3D at NAB.