Post Your Apple/Final Cut Based Workflows Here

[Osler Go]

Thought it would be great if we could collect together everyone's Apple/Final Cut workflows for Red in one thread. If this was already done forgive me, but would be great to see what others are doing so we can compare notes.

Do you use RedTrip? When do you use Redcine? Do you rely on another program entirely for your workflow? Do you convert all the footage first? Do the proxies work for you?

I know there are a lot of variations, and of course projects can determine extra steps but would be interesting to see.

For simplicity something along the lines of

First This > Then This > Then This Program > Finished

And a brief explanation of how this workflow works best for you.


Oz
HDOLOGY

[Scott Simmons]

Make new proxies with RedAlert (the cam generated ones don't see the .R3D files right) > convert to an easy to edit format, maybe ProRes but maybe DV > Edit in FCP > XML through RedTrip > RedCine pull (it's not a conform) to DPX files > DPX conform in Quantel eQ > Color grading on DaVinci

At least that's the plan!

[Tv_Red]

Yeah i have been searching for a solid workflow on this forum for awhile just reading what everyone has to say and this is what i have gathered. Please let me know if i have this wrong or not, im still new to this!

I personally think the REDtrip is a great idea but when i tried a quick test it worked up until the point where i was trying to convert the Redcine.xml to a FCP.xml

I imported the "_H" files into my FCP system, it converted my sequence into ProRes HQ and i did my edit in that. I had a orange render bar and had to render it out everytime. Once i finished my quick edit i exported my XML into a seperate folder with my Redtrip Droplets and did the first step of Red Trip and it made a new XML for RedCine. I opened RedCine, opened all the shots that i used and opened the RedCine XML that i just made. Did my color set my output settings/path and made sure all the clips were set to "Width". I rendered out all the shots as ProRes HQ 1080, then saved my RedCine XML before i closed out. I then tried doing step two of the Redtrip, and it found the right path to the xml but i tried typing in my own path of the Renders because it wasnt finding the right folder and it kept saying "No path found" I literally tried this at least 10 times in different ways but no luck. i havent had time to test this again but i want this workflow to work.

I did not try what it suggested it the instructions, which was to export/compress your "_H" files to ProRes with the name that the camera gave it, i would assume the only real advantage to this is not dealing with rendering?


The second workflow that i am seeing is just converting all your footage to another format off the bat, such as a ProRes. The only thing i am having trouble with is an easy way to label all the footage and do a batch at the same time with out having the same name. (If not i might just have to relabel in finder)Also the fact that it would take a good deal of time to process all of this if you have a long format project. My next question would be if i did do it this way and still kept the original name with in the file name what would be the process to go back to a 4k out if need to be.

The production that i am on are really thinking about shooting on this camera on 4K for a 95 min Indie Feature. We were going to shoot on the HPX3000 but it doesnt really do what we want it to do and the HPX500 isn't really as comparable. I am new to this camera, i have done some test shoots with this but my main concern is my workflow since i am the one who is going to be cutting it and working with it for the next couple of weeks.

Would it be possible to help shed some light of this? It would be much appreciated!

What would be the best and the safest workflow to work with, also having the option to go back to the original 4K res for a possible film out?

Keeping it all organized, do i need the original file names? Im assuming yes.

Then what is the best format to cut it with out having my machine struggle? I was planing on ProRes.

I will also be on set downloading to my laptop then transfering it to my MacPro to Process all the files, so i can hopefully do some editing on set.

also im cutting on a Quad 2.66 with 4GB Ram and a G-Speed es Mirrored through Sata.

[tillHavis]

At the moment I'm holding out for Cineform, if they step up to the mark and produce with Neo 4K I think they will be on to a winner. That said they really need to have all their Software and conversion tools working natively on Mac. I think the key is the speed at which they bring these tools to the market place.
Tv Red you mentioned having to shoot on the HPX3000 this is where Cineform could shine. At the moment the transition to 4K is only starting. If we could work with existing formats such as DVCProHD and AVC Intra and HD as well as RED footage, and convert this footage to one Cineform DI WOW!

If Cineform gets this right they could be the leader in the 2K and 4K DI market. But they need to sort out the native transition to Mac and hit the existing 2k DI Market as soon as they can.

[cory660]

1) Do a rough edit in FCP
2) Export XML f/ FCP
3) Import XML into Crimson & generate a Redcine-ready XML file
4) Import new XML file into Redcine
5) Color grade in Redcine & export the files as Apple ProRes HQ at 4K
6) Drop the ProRes files into the FCP timeline & finish editing, color correcting, etc.

DONE.

[eskatonia]

my suggested workflow is documented here:

http://www.coremelt.com/support/workflow/

export DPX and use scratch if 10 bit YUV ain't good enough for you....

[Sam Roberts]

Also 4K to 1080P and SD DVD workflow would be appreciated.

[ThomtheEditor]

We've Only Done A Few Music Videos And Short Form Deliverables (i.e. Less Than 5 Min Finished Pieces) And Found That The Best Way Is:

1. Online Everything In Redcine @ 2k Prores Hq W/ First Light Correction
2. Cut In Fcp
3. Send Vfx To Ae And Back With 2k Prores W/ 4:4:4 Chroma Filtering
4. Send To Color And Back For Grading
5. Full Res 2k Prores Qt D.i. For Filmout

[Rob Gardner]

Now come on people, isn't there somebody out there doing long-form shows for delivery on television or cable (HD and SD)? Multiple hours, broadcast deadlines? I'd love to hear from you if you are.
Rob Gardner

[Ed Watkins]

1) Import Proxies into FCP
2) Edit offline in FCP.
3) Separate speed changed clips, 2K and 4K into separate time lines.
4) Conform the time lines using Crimson & REDCINE.

Then either:
5) Bring the roundtrip XMLs back to FCP
6) recombine time lines / speed changes
7) finish in color

or
5) import FCP XMLs from RECINE into AE using this free script:
http://www.creative-workflow-hacks.c...ut-the-hassle/
6) Finish in high res in AE, or apply effects as needed.