Anyone? Red workflow in offline environs

[Michael Peploe]

Would love to hear anyone's offline workflow for those of us with basic home tools. Specifically:

 

4k to 1080p conversion (transcode times,basic color correction , what computer horsepower is necessary)

 

are 1k and 2k, .5K proxies editiable say in FCP able to handle basic color correction then onlined at a pro house from the original 4k.

 

Can proxies be deliverables if 4k isn't necessary? What timeline are you editing those proxies in for best quality?

[Ralph Oshiro]

I'm no expert in workflow, but I'm planning on "offlining" in 1080p for the time being, working in FCS ProRes 4:2:2, then transcoding out to an HDW1800 HDCAM VTR for deliverables, since anything beyond that would be a pretty specialized application anyway. An 8-core MacPro with 16GB of RAM would probably be most comfortable, but you can probably get by with a slightly less-exotic MacPro set-up, since the ProRes CODEC is rumored to be pretty efficient. I'll then just archive the full-res, RED master datastreams, if I ever need them later.

 

If I remember correctly, both 1K and 2K QT proxies are kind of "built-in" to the RED datastream, so yes, proxies of more than one resolution are available, and would then work more fluidly on lesser machines. Again, I'm no expert on RED workflow, and I may have some of this wrong. Certainly, Graeme or someone else much smarter than me about this will chime in . . .

Edited September 12, 2007 by Ralph Oshiro

[Michael Peploe]

I'm no expert in workflow, but I'm planning on "offlining" in 1080p for the time being, working in FCS ProRes 4:2:2, then transcoding out to an HDW1800 HDCAM VTR for deliverables, since anything beyond that would be a pretty specialized application anyway. An 8-core MacPro with 16GB of RAM would probably be most comfortable, but you can probably get by with a slightly less-exotic MacPro set-up, since the ProRes CODEC is rumored to be pretty efficient. I'll then just archive the full-res, RED master datastreams, if I ever need them later.

 

If I remember correctly, both 1K and 2K QT proxies are kind of "built-in" to the RED datastream, so yes, proxies of more than one resolution are available, and would then work more fluidly on lesser machines. Again, I'm no expert on RED workflow, and I may have some of this wrong. Certainly, Graeme or someone else much smarter than me about this will chime in . . .

 

 

Thanks Ralph. Very helpful. I know there are a very few cams out there so these questions may be a bit premature. It wold be nice to hear more speculation or real world experience on this, especially in a low end environment for basic rough cut, color correct, etc. I've seen pics and I've scene moving shots. I've seen color correction and debates about chip resolution. But I have yet to see a small edited sequence with basic elements used for offline with workflow and tiranscode time details because I feel its the other part of this supposed revolution. And I think just as important as resolution for the independant filmmaker without the Hollywood bank account.

[Ralph Oshiro]

Yes, I agree. Well, the cameras are starting to trickle off the production line as we speak. And those lucky new owners seem too busy playing with their REDs to provide us with as much footage and feedback as we're craving. But I would guess that for those not planning a film-out, that 99.99999% of those shooting with RED will cut and deliver an "offline" 1080p master only (at best; most will actually have to deliver only 720p and 1080i), and simply archive the master data. Apple ProRes 4:2:2 and 1080p will be the new "mastering" format for the bulk of RED-based production. I've seen the 2K ProRes footage. It looks f*cking great!

Edited September 12, 2007 by Ralph Oshiro