Blown out windows and workflow advice?

[brochtune]

Hi guys, I've been reading the forum for a couple of days now and I was hoping you could help me out and shed some light on a few things.

We just wrapped on an ultra low budget feature a while ago, are about a week from picture lock, and there isn't any money left for anything.

I'd like to go the DPX route for color since anyone who seems to know what they are talking about raves about it. However, I thought that Color already supported DPX and a 3rd party plug-in wasn't needed? I don't really understand what Glue Tools is and why I would need it, other than to view dpx based videos outside of Color...

So unless I can pry some cash from the producer, it looks like this is my 1080/24p (destined for festivals and DVD) workflow:

FCP->Crimson->Redcine->uncompressedQT->Crimson->FCP->Color->FCP->HD

My problem is that the DP & Director have *a lot* of blown out windows. How should I one-light it in RC? I don't want to lose that information when I go back to Color but I don't think that Uncompressed QT will keep it. If I lower the ISO and export from RC so I can use the blown out shots, I don't know if I'll lose info in Color because it's too dark.

I hope that made sense...

[Florian Stadler]

You don't need Gluetools to work with DPX sequences in Color.

In your case I would recommend:
-export EDL out of FCP for color import
-export xml out of FCP for Redcine Export of 2K (or depending on deliverable 1080) DPX files in REDLOG color space through Crimson.
-import EDL into Color, point to the DPX folder as source instead of offline proxies.
-use standard color supplied LogtoLin LUT (under import LUT)
-Export to uncompressed QT for HD deliverables with the LUT turned on
-Export to DPX file sequences with the LUT off for archive, potential film out elements for the future.

Consider dropping the ASA in Redcine and lifting the midtones with a curve if there is useful information in the windows (and if it is not a desired look to have the windows blown out which is possible). When working with RedLog adjust ASA and curves with Redspace turned on to make the adjustment look good to your eye.

Hope that helps

[brochtune]

Thanks, Florian, that was very helpful.

I didn't mention that I'm running off of firewire800 drives and I know that DPX needs quick response. Am I able to still use it and just not get the RT playback?

My Hard drive space is limited. How big would the DPX sequence be on an 85 minute feature?

Lastly, I read somewhere that either crimson, Redcine or color can't handle many shots at one time. Can I send the whole 85 minute feature through the pipeline?

[Florian Stadler]

I work dpx in color off FireWire 800 on a TOL MacBook pro and it plays back but stuttery. Doesn't bug me too much since I tend to color on a still frame.

A full feature in 2k DPX files would be about 650 GB. Considering how cheap a fw800 drive can be had for, it's a bargain to have a more future proof archivable digital negative.

Do break it down into reels. Traditional 22 min chunks (the size of a 2000' film reel) is good if you don't have too many cuts (I think it's limited to 100 in redcine)