Mike Mazzotta | firstname.lastname@example.org | screwfilms.blogspot.com
EASY Online Workflow for FCP 6.0.6
THIS IS JUST TO GET YOU STARTED.
This workflow is SPECIFICALLY for students to help get acquainted with The Red Raw workflow. Use this as a starting point, and experiment from there. The options laid out in this workflow are designed to be the most compatible with FCP 6.0.6. . . . feel free to play around with with ALL of the possible options, and compare the results to see what works for you.
The RED One is a Film Camera with a digital back. The Imaging Sensor is The Film Plane, De-Bayering is the Chemical Bath, Color Science (LUT/Colorspace) is the Lab Timing, and Transcode is the Telecine. Your R3D files are a Digital Negative. Treat RED footage like film, and you will have good results.
The RED is NOT a Video Camera: it does no onboard image processing.
The RED is NOT an HD Camera: it does not shoot 720/1080
Glossary of Terms
- A File that contains minimally processed data.
- Contains Pixel Data from an Image Sensor
- Also Known as a Digital Negative
- Online Editing
- Handling the deliverable footage
- The FINAL stage of editing
- Offline Editing
- Handling Transcoded versions of the RAW footage
- NOT THE ORIGINAL FOOTAGE
- Footage that stands in the place of the ORIGINAL footage
- The Process of taking data from one program to another, then back to the original program. (i.e. NLE => DI => NLE)
- A set of instructions to Compress data for storage, and De-Compress for Playback
- Color Space
- a way to interpret numerical values for Color (RGB/CMYK/Etc)
- Look Up Table
- is used to determine the colors and intensity values with which a particular image will be displayed
- Is the "Palette"
- The way a VIDEO SOURCE interprets color
- the Process of Interpreting RAW Image data
- DIRECTLY related to QUALITY of your footage
- the PROCESSING of your DIGITAL NEGATIVE
- How it breaks down the Wavelet
- Quality (Down Convert is Size)
- Bring Data INTO a program
- Send Data OUT OF a program (Create a NEW TYPE of file)
- Convert Data from ONE digital format to Another (Create a SIMILAR type of file)
- "The Caboose Effect"
- Plan from Front to Back.
- Start With Distribution, then work your way through Acquisition
THE ONLINE EDIT
- Preparing Your Footage for Transcode
- Using Your Camera Reports, Mark the RDC's that you want to Transcode in the RDM folders.
- "Don't Print Bad Takes"
- NEVER DELETE - You may need some of these files later.
- DO NOT RENAME ANYTHING THAT THE CAMERA GENERATES
- NEVER save or add ANYTHING to your original files: Make a Backup, and LOCK IT.
- Transcode in RedRushes
- Step 1 - Add Clips
- Add ONLY the RDC files you marked from your camera reports
- Step 2 - The Render Tab
- Debayer Quality: Quarter Res
- Timecode: External/TOD
- Look Source: Camera
- Color Space: CameraRGB
- Will be editing Digitally/MOST LIKELY for Digital Distribution
- Gamma Space: REDSPACE
- This MAY be the closest to how you painted on set.
- Step 3 - The Resize Tab
- [Check] Scale
- Preset: 1920x1080 (For HD Delivery)/2048x1080 for 2k Delivery (56 pixels on each side)
- Fit/Stretch: Fit Width
- Step 4 - The Output Tab
- Output Format: Quicktime Movie
- Quicktime Codec: Apple ProRes 422 (sq)
- OUTPUT FOLDER!!
- Set to a New, SPECIAL folder on your Hardrive.
- Step 5 - Click Start
- Import Into FCP
- File -> Import File
- Cut Your Film
- Keep in mind that these are DELIVERABLES, in accordance with ONLINE edit.
- Color your Film in FCP
- Effects=> Video Filters => Color Correction=>Color Corrector 3 way
- Effects => Video Filters =>Image Control => Contrast and Beziers
- Color your Film in APPLE COLOR
- Right-click your assembled sequence
- Export => Send to Color
- Color will launch. . . and you will color correct your ProRes Quicktimes