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updated 6 Aug 2010 NEIL SADWELKAR |
DI - Digital sources Digital Intermediates - for movies shot on Red, EX-1/EX-3, Canon 5D/7D, Sony F35, Arri Alexa, and others |
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In
recent months many filmakers in India have moved on to
or are considering shooting on digital camera systems.
| Workflows for post-production after shooting digital... Red Shoot to CF card or Red drive as Red files. These have the .r3d extension and they are in long alpha-numeric named folders - like 'A034_10144E.RDM' inside which are folders named like 'A034_C250_1015JQ.RDC' and inside this are the Red files. These have the extension .R3D Take all these files on a hard disk to the edit suite Do NOT change any file or folder names Edit proxy Quicktime files in FCP. The ones called A034_C250_1015JQ_H.mov or A034_C250_1015JQ_M.mov OR Convert these proxy Quicktimes to Quicktime Apple ProRes or some other codec Edit in FCP with Quicktime movies - proxy or converted. In an Avid prior to version 5 you can import only converted Quicktime files. In Avid version 5 and above you can import and edit the proxy files too. After the edit is complete... Convert selected material from original Red files to DPX or Cineon OR if your grading or finishing system can handle Red files, just import the EDL, AAF, or XML and it will connect to the original Red files. Apple Color can do this. So can the latest versions of Smoke, Quantel eQ/iQ, Lustre, Resolve, or Baselight, now nearly all systems can handle Red files natively. Grade in film grading system Online and master Output to tape or film Si-2k Shoot to camera internal storage Convert to Quicktime converts - HD or 2k size Edit in FCP Convert your edit for online Grade in film grading system Online and master Output to tape or film OR Make Quicktime low res files to edit in Avid or FCP Edit in Avid or FCP Convert selected material from original Quicktime files Grade in film grading system Online and master Output to tape or film Sony F-35 or Viper/Arri D-21 shot to tape Shoot to HDCamSR tape Capture in Avid or FCP as low res Edit Export EDL for online Finish and master on online systems Output to tape or film HDV Shoot to HDV tape Capture in Avid or FCP as HDV Edit Export EDL for online Finish and master on online systems as HDCam-SR or D-5 or DigiBeta master OR Export FCP or Avid edit to online systems Finish and master on online systems as HDCam- SR or D-5 or DigiBeta master HDV when captured into Avid or FCP as HDV or Apple ProRes is the best quality there is, and recapturing in smoke/flame/eQ will not result in higher quality XDCamEx Shoot to SxS cards Transfer SxS card contents to hard disk Do NOT change any file or folder names Convert card footage to Quicktime native XDCam format. Sony has an app for this. Edit Quicktime native XDCam Quicktime files in FCP OR Edit converted files in Avid. Transfer edited timeline to online system Finish and master on online systems as HDCam-SR or D-5 or DigiBeta master XDCamEx when captured into Avid or FCP as XDCam native is the best quality there is. Recapturing XDCamEx in smoke/flame/eQ is not currently possible. Canon 5D/7D Many still cameras that shoot HD video or HDSLRs as they are called, create Quicktime movies encoded with a codec called H.264. These movies open on a Mac or PC with Quicktime Player, but it is a bit unwieldy to edit them directly. So its best to convert them to Apple ProRes or Avid DNxHD before editing. These HD movie files do not have time code. But there's a Canon FCP plug in that lets you import them using the time of day as time code. Alternately you can 'stripe' them with a time code and then use them. Mind that striping with new Time code if not done correctly, can permanently corrupt a Canon mov file. I've devised a workflow for a friend to stript Canon mov files with a time code, convert them to low res Avid, edit in Avid and conform to the original for finishing. It works. Data management If you do choose to shoot digital, keep in mind that your shot material, or rushes, or footage, or dailies, are all digital files on a hard disk. So if something happens to these files you have to reshoot. Keeping sensible backups and archiving your work is crucial. Has to be thought of and planned before you begin the shoot. Some amount of investment needs to be set aside for data storage and management. And this includes paying someone to actually manage it as well. I've come across many horror stories in this area. And practically everyone who treats data seriously is someone who's had a bad time. There are two kinds of people. Those who've had a data accident, and those who have yet to have one. It costs money to be either. |
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Links to my posts on Red and other digital moviemaking These links open in new windows. Canon 5D or 7D directly in FCP Canon 5D MkII directly to FCP Sony SRW-9000 digital movie camera Arri Alexa Digital Movie Camera Video DSLRs - how good are they really Canon 7D HD movie mode post-production Red FCP-Color workflow Editing HDCamSR 24p in an Avid Media Composer Mojo Apple Color for film DI... gets closer Post for a feature length film on a Red camera There's a Red camera in Mumbai First TV commercial shot on Red in India Red camera in Mumbai, India 24fps film or HD out to SD PAL |
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If you have specific
queries on the workflow for the Red, Alexa or any other Digital camera,
and are wondering how to go about it, particularly in India, do get in
touch. |
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In
case you've come here directly, check out my For more on FCP check my
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