Comments on: Editing with REDcode http://www.mindwarpentertainment.com/blog/2009/04/editing-with-redcode/ A few words from the brothers Corral. Sat, 21 Aug 2010 08:59:27 +0000 hourly 1 http://wordpress.org/?v=3.0.1 By: Pasha Patriki http://www.mindwarpentertainment.com/blog/2009/04/editing-with-redcode/#comment-9951 Pasha Patriki Sun, 15 Aug 2010 00:31:08 +0000 http://www.mindwarpentertainment.com/blog/?p=323#comment-9951 DCP"s native workflow is great, but it only works if you create offline files using Log and Transfer window. What should one do when the offline files were created in Red Alert or RedRushes or other programs alike? FCP does not recognize offline Qt files for Batch Capture unless they were originally rendered via L&T... DCP”s native workflow is great, but it only works if you create offline files using Log and Transfer window. What should one do when the offline files were created in Red Alert or RedRushes or other programs alike? FCP does not recognize offline Qt files for Batch Capture unless they were originally rendered via L&T…

]]> By: Carlos http://www.mindwarpentertainment.com/blog/2009/04/editing-with-redcode/#comment-1426 Carlos Thu, 14 May 2009 03:42:52 +0000 http://www.mindwarpentertainment.com/blog/?p=323#comment-1426 If you don't have the luxury of onlining as you go, then I would suggest you use RED ALERT and transcode to a format you can edit. Apple ProRes 422 is pretty good about that. You can read more about that work flow in the RED Whitepaper on their website. Remember that your editing 2K-4K size files, so you need a pretty beefy system with alot of hard drive space. If you don't have those tools, then I think your shooting with a format that is a little out of your price range. Try something like DVCPROHD or AVC-INTRA. Ah, another thing that just happened to me recently. I met up with the Director and DP of our upcoming project SAWED OFF and had to explain to the DP how the Final Cut Pro to COLOR process works and that we wouldn't be touching any of the meta data until picture lock. COLOR can also export DPX files as well if you are going to a film print. Ultimately however, it is always up to the Director to choose a workflow that will best suit him and the production. As you can see with those pictures above, the RED shoots RAW Images so the DP no longer has the power to give his own look, but rather, it falls on the Director, Editor, or Colorist who can choose the look of the film thanks to everything being digital. If you don’t have the luxury of onlining as you go, then I would suggest you use RED ALERT and transcode to a format you can edit. Apple ProRes 422 is pretty good about that. You can read more about that work flow in the RED Whitepaper on their website. Remember that your editing 2K-4K size files, so you need a pretty beefy system with alot of hard drive space. If you don’t have those tools, then I think your shooting with a format that is a little out of your price range. Try something like DVCPROHD or AVC-INTRA.

Ah, another thing that just happened to me recently. I met up with the Director and DP of our upcoming project SAWED OFF and had to explain to the DP how the Final Cut Pro to COLOR process works and that we wouldn’t be touching any of the meta data until picture lock. COLOR can also export DPX files as well if you are going to a film print. Ultimately however, it is always up to the Director to choose a workflow that will best suit him and the production.

As you can see with those pictures above, the RED shoots RAW Images so the DP no longer has the power to give his own look, but rather, it falls on the Director, Editor, or Colorist who can choose the look of the film thanks to everything being digital.

]]> By: Scott http://www.mindwarpentertainment.com/blog/2009/04/editing-with-redcode/#comment-1422 Scott Thu, 14 May 2009 01:39:20 +0000 http://www.mindwarpentertainment.com/blog/?p=323#comment-1422 But what if you're cutting a feature and don't have the luxury of basically "onlining" as you go... Plus, what if your DP is insisting on coloring at a facility that requires DPX files to work in? Not trying to be contrarian - just asking how you'd solve those problems? Thanks... But what if you’re cutting a feature and don’t have the luxury of basically “onlining” as you go…

Plus, what if your DP is insisting on coloring at a facility that requires DPX files to work in?

Not trying to be contrarian – just asking how you’d solve those problems? Thanks…

]]> By: mersoz http://www.mindwarpentertainment.com/blog/2009/04/editing-with-redcode/#comment-1240 mersoz Fri, 08 May 2009 12:38:34 +0000 http://www.mindwarpentertainment.com/blog/?p=323#comment-1240 One element of the Native workflow that you're missing here is that you can do your one-light in RedAlert. When you save an RLX file in RedAlert in the Presets bin (which is the default setting, it shows up in your L&T window along with those other choices (native, tungsten, daylight, sepia, etc.) Doing your one-light in RA is a much better, non-destructive option than correcting in FCP. Depending on your project, it can be a lot faster, too. The Native workflow is a wonderful tool. Thanks for the article. One element of the Native workflow that you’re missing here is that you can do your one-light in RedAlert. When you save an RLX file in RedAlert in the Presets bin (which is the default setting, it shows up in your L&T window along with those other choices (native, tungsten, daylight, sepia, etc.)

Doing your one-light in RA is a much better, non-destructive option than correcting in FCP. Depending on your project, it can be a lot faster, too.

The Native workflow is a wonderful tool. Thanks for the article.

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