Friday, February 26, 2010

RED Online Workflow for FCP 6.0.6

Mike Mazzotta | screwfilms@gmail.com | screwfilms.blogspot.com

EASY Online Workflow for FCP 6.0.6


OVERVIEW:

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.
~Mike

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
  • Raw
    • 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
  • Proxy
    • Footage that stands in the place of the ORIGINAL footage
  • Roundtrip
    • The Process of taking data from one program to another, then back to the original program. (i.e. NLE => DI => NLE)
  • Codec
    • "Compression-Decompression"
    • 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)
  • LUT
    • 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
  • Debayer
    • 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)
  • Import
    • Bring Data INTO a program
  • Export
    • Send Data OUT OF a program (Create a NEW TYPE of file)
  • Transcode
    • 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

-OR-
  • 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


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