Thread: Format and output settings for 2k film

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  1. #1 Format and output settings for 2k film 
    Hello people we are a small company and this is our first experience with REDONE in a 90 min. film, so my question is in the Format Settings I select REDspace and Gamma: REDlog for color space is this correct? my plan is to bring those dpx to apple color and then give them to the company that will print it in 35mm film
    my other question is why you cant render out a dpx sequence 16 or 32 bits, what format is better a dpx with 10bits or a tiff 32 bits, thank for all
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  2. #2  
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    Quote Originally Posted by rodolfo davidson View Post
    Hello people we are a small company and this is our first experience with REDONE in a 90 min. film, so my question is in the Format Settings I select REDspace and Gamma: REDlog for color space is this correct? my plan is to bring those dpx to apple color and then give them to the company that will print it in 35mm film
    my other question is why you cant render out a dpx sequence 16 or 32 bits, what format is better a dpx with 10bits or a tiff 32 bits, thank for all
    The correct thing would be to seek expert advice from a post house that has some experience of using RED, and test your workflow with the company doing the print. Then test your storage and transfer facilities can handle it, then do a couple of small projects to test that. Test test test....

    Why would you want to bring dpx to Color, when you can use Native r3ds?
    Ben Holmes

    Edit Out Ltd
    FCP/EVS Editing
    Systems consultant
    www.editout.co.uk
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  3. #3  
    Thanks for your advice I will search, ask and do some test test test, working with the native R3d in color means sending ProRess from FCP and rendering quicktimes out of color, and the film lab need a DPX sequence so I think that importing DPX is the cleanest workflow for a 2K film.
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  4. #4  
    Quote Originally Posted by rodolfo davidson View Post
    Thanks for your advice I will search, ask and do some test test test, working with the native R3d in color means sending ProRess from FCP and rendering quicktimes out of color, and the film lab need a DPX sequence so I think that importing DPX is the cleanest workflow for a 2K film.
    You can also take your footage into After Effects and output DPX for the color house from there.
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