I am posting a Red feature using 2K ProRes workflow. All proxies are generated from the Log and Transfer window. The original intention after picture lock was to do our color grade on a Scratch system using the XML export process to finish in 4K
Since FCS3 was announced and there is now native 4K support in Final Cut Pro and Color, this raises some new questions for us regarding our original post workflow.
- Should we consider ProRes 4444 for our finishing rather than onlining with R3D as originally intended?
- Since the Log and Transfer window gives you the option of batching in the "Native" Red footage, is the resulting Quicktime now 4K in FCP 7? The "Native" setting produced a 2K QT in FCP 6, right? And since the QT is a wrapper around the original R3D media, the process of batching "Native" per the Red whitepaper on FCP workflow should now allow for a 4K color grade in Apple Color, correct?
- If we online with ProRes 4444, do we risk sacrificing some of the latitude with altering the image that we would have otherwise had by manipulating the R3D media?
- The new version of Cinema Tools now offers the ability to import R3D clips and treat them like film rolls that correspond with transcoded footage in the timeline. If we go with an R3D online workflow in Color, will we have to use Cinema Tools and re-batch all of our footage so that Color links back to the R3D?
Thank you so much for your insight and answers to some or all of these questions.