workflow documentation

[Ryan Bell]

Hey guys, just wondering if there is any documentation out there on the net where other editors have documented their workflows for FCP, particularly using the Pro Res option. Something that details from transcoding, right through to colour correction and output. I am going to be editing a feature in the coming months and having never worked with the Red footage before, so any research I can do now is of great assistance! When we get our gear we are going to be doing some pretty solid testing to get out heads around it, but in the mean time any reading really helps!

[Kaku Ito]

If you are okay with Prores then it is quite simple.

Before I can start telling you what would be good, can you tell me if you're going to be using extra video hardware (video I/O and monitor)? Then my recommendation would be different.

[Ryan Bell]

At this stage i don't think we will be using extra video hardware as i'm not sure whether we really need it. I have left some room in our quote for an edit machine for a Kona 3 card if we need it. We will be displaying out to an LCD monitor for grading, but i figured we can just plug that straight into DVI in our graphics card. IF anyone things otherwise, feel free to give me your thoughts!

At this stage our project is this: - First time red users shooting a 95 minute action film. Our inteneded output is DVD and Blue Ray, but with a view to possibly blow it to film if need be. I figured that for a group of people really just starting out with the Red that the Pro Res workflow would be the most straight forward and easiest to finish In-House. Thats another stipuation, we want to finish as much as we can in house. We will be having a number of effects shots, primarily composits of gun fire and blood hits, stuff like that. Thats basically the gist of our project, I am also waying up the option of editing in CS4 as RED is now native to that program and it has easy intergration in AE, which will suit our VFX guys.

[Kaku Ito]

Ryan,

That's pretty much what I coordinated to finish a couple of film projects. One of them was Karate action film, too.

Assuming you are finishing in 1080 or 2K, there are many things I can share from my experience.

You can do offline editing with FCP or Premiere Pro CS4 without hardware but from editors' point of view, offline editing without video I/O doesn't give the ability to comfortably check the focus in certain situations. You can use utility like ClipFinder to enlarge to check the focus, but I was reported by editors that often times not comfortable to work. So, you can cut edits without hardware, with only desktop's small canvas and small resolution setting, but certain portions might have to be worked out after you take them to online (quality that is). Any how, working offline natively let you save time and disk space.

Working natively offline, first choice is to get an extra LCD panel connected to the second DVI on the graphic board, then set up in FCP to use digital cinema desktop preview. If you can calibrate the LCD panel well then you can continue to use that for grading, but in this way, it will take time to really be precise. Wether you have to compromise in getting close to standard reference or spend a lot time going back and force to make your monitor calibrated.

You can then add video hardware such as Kona 3 or Multibrdige Pro to follow the video standard but even so, you need to have a calibrated monitor to be more precise, simply adding LCD panel won't give you enough preciseness following the standard reference. I own Sony Master Monitor BVM-D24, but still have issues to be close for film editing, so ending up compromising in being precise, just concentrating in balancing the entire piece and not clipping or crushing, then let the DI people balance everything and prepare for film out. I'm thinking new master monitors like Sony BVM-L170 that has DVI input connected directly to video board might be better choice instead of spending money in video I/O, but I have to check this if it's good.

I have to go take my wife to the dentist, so I will continue later today for more of my thoughts.

[Ryan Bell]

Thankyou for your thoughts it really is a help! You have reassured what i was thinking, in terms of monitoring out to a LCD. I will be away for the next few days, but i will keep checking this post for any updates! Thanks again

[Michael Cioni]

Ryan-
I agree with Kaku's ideas and it's great to see people looking upfront for information.
Though Premiere does support R3D natively, it is in its infancy and cutting a feature this is not as seamless as working with transcoded media. Native support, though ideal, is not always as elastic as editors typically need. Plus, when you factor in multicam, dual-system audio and 75hours of dailies, R3D behavior can change. Plus, with regard to VFX, you're going to go back to R3D 4K files for a full debayer in AE anyway, so as long as you can generate a pull list for AE, you don't need to be cutting in Premiere to keep things efficient with AE.
Checkout my website, I've worked on over 100 Red projects. I'd love to help. It's sortta my job.
michael

Michael Cioni
Founder, PlasterCITY Digital Post
www.plastercity.com