attached find the official documentation from Autodesk for a Red One Post workflow.
I am going to check this flow this month, and interested folk can reply to this thread to know more. I am still looking for a way to pass digital video footage (like from a Red One, F35, Viper etc) through a TeleCine suite. Only reason being, I love the color control, speed and flexibility of a TC suite, which I feel, is better than current DI suites.
Enjoy these papers!
RED ONE Post
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Paramvir Singh
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RED ONE Post
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Aravindan.G.P.
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Re: RED ONE Post
I am interested in knowing the result of the workflow. Where are you planning to do it?. I thought a DI system would be able to give more flexibility in the manipulation of the image apart from the regular stuff that a Telecine suite gives. I thought the footage from RED, which is file based, is not supported by Telecine suites, unless converted into video format or DPX. Let me know what you find. All the best.
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Paramvir Singh
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Re: RED ONE Post
hi aravindan. my post workflow is not yet completely locked, but I am looking at something like this:
* import red reference quicktime movie files (i am working with 'h') into fcp
(note: FCP requires a Red Code plugin. After importing the files asked for a proxy render, without which the movements were a little jittery)
* finish offline. export xml edl. import the edl into smoke and grab high resolution original Red's 'RAW' files
* now I could finish in smoke.
* OR I could take a PAL 10 bit output from smoke onto a digibeta and run it through the davinci suite.
(you are right. the TC suite doesnt accept data on hard disks, but its possible to route a tape based data through it.)
Why telecine suite? two reasons: firstly, I feel its faster and better focusses towards colour correction. smoke is more geared towards finishing. secondly, the TC artists are by nature and training, into colour corrections and grading. it comes to them naturally. they are also full of ideas. Its a joy to work with them!
smoke artists are more tuned towards finishing, basic animating etc.
keep watching this space. will keep posting.
* import red reference quicktime movie files (i am working with 'h') into fcp
(note: FCP requires a Red Code plugin. After importing the files asked for a proxy render, without which the movements were a little jittery)
* finish offline. export xml edl. import the edl into smoke and grab high resolution original Red's 'RAW' files
* now I could finish in smoke.
* OR I could take a PAL 10 bit output from smoke onto a digibeta and run it through the davinci suite.
(you are right. the TC suite doesnt accept data on hard disks, but its possible to route a tape based data through it.)
Why telecine suite? two reasons: firstly, I feel its faster and better focusses towards colour correction. smoke is more geared towards finishing. secondly, the TC artists are by nature and training, into colour corrections and grading. it comes to them naturally. they are also full of ideas. Its a joy to work with them!
smoke artists are more tuned towards finishing, basic animating etc.
keep watching this space. will keep posting.