There are 2 standard workflows, and many variations. These should be decided before the shoot for best results.
Get everything out of your RED media • DPX or Cineon Color Correction in logarithmic color space. The workflow is similar to film, using dailies for edit, then conform the RED R3D files for color correction before On Line or Print to film..
Quick turn around • The workflow is simple, much like P2. While shooting pay special attention to keep detail in the shadow areas. Pre-Color Correction is advised.
Many variations • For editors to explore as they understand the parameters.
Color correction may be through Apple Color, Adobe After Effects, etc. Editing with Adobe Premiere, Media 100, etc.
More in-depth info available at: http://rentthesky.com/rtsf/-POST_TECH.html
This is the most professional method to be used on commercials and feature films that can afford the time and budget to finish with high end DPX or Cineon color correction. It is similar to a film negative workflow.
Shoot 4K when possible (3K and 2K for Slo-Mo Situations). Light for film. Use the live video feed for framing reference and execution only, just as you use a video tap on a film camera. Use RED Alert or Clipfinder to check raw picture on set if need.
Use REDRushes or similar to create Quicktimes or DNx Files for use as dailies to edit, not for final output. Edit in HD or SD as you wish. (See also http://www.avid.com/RED/)
Do not change the RED file names on the dailies hard drive, make sure they retain the name of the RED file they were created from. The timecodes are similar to film negative keycode, but link to RED Media (MAGs) instead of film rolls. You can change the name of the clip in Final Cut Pro, as long as it is attached to the original file name: the RED code.
Once edit is locked, export FCP, AVID xml or some type of EDL to Crimson or Monkey Extract to translate into RED Cine. Let RED Cine create DPX files at 2K using the RED Log setting with full image size and only the frames needed (Conformed) with maybe 4-24 frame handles, as you wish. Send files to Baselight, DaVinci or similar system for correction (Final Transfer). Files may be resized or adjusted in color correction, just as a typical film frame might be.
Color correction may be returned as DPX files, Cineon files or as Video (HD or SD) depending on the box used to complete the on-line. At this point the video color space is fine. 2K DPX or Cineon is standard for transfer to film. Check with the post house of course.
Remember 4K DPX files are huge and a waste of time for now. RED 4K would be up-rez-ed to 4K DPX resolution so don’t waste your time. Any arguments about 12-bit RED to 10-bit DPX are for people who don’t understand linear versus logarithmic numbers. The RED files are in a bayer pattern and not RGB pixels...
Increasingly popular to avoid the work of returning to the RED Raw files, this has one big disadvantage. The black levels are already locked into video gammas when made into quicktimes, and generally darker than desired. This is because the RED workflow was based around always returning to the RED Raw file for coloring.
My solution for happiest pictures is done in the shooting process. One option is to shoot with Digi-Con filters. This will flatten the picture, but it puts the shadow details, and the highlight details into a video space that is not crushed. It will change the latitude, but you’ve already done this by electing not to go back to RAW. Don’t worry about it.
Here’s another cheat if you choose a Quicktime Workflow. It will drive cinematographer’s nuts. (Until they understand the workflow will require some sort of video compensation). Light for your shooting stop at 200ASA and leave the camera 320ASA.
In tungsten lighting, most Cinematographers equate the sensor to native 200ASA instead of 320ASA. So light for 200ASA, shoot at 320ASA and your quicktimes will look better by not looking under exposed. May have to take a little brightness off the monitors on set.
Use REDRushes to make Quicktimes or Avid Files with Look Source when offered and RED Space when not. To readjust any file after the fact, use RED Alert to adjust and use the RSX file created with the shot to create a new Quicktimes or Avid File.
Clipfinder has added the RED Alert settings and is definitely my preferred program on set and extremely useful for before hand color correction and copying.
Import into FCP, Avid, etc and edit. Color correct these files when needed. A colorist who normally works on film transfer will not be able to correct like they might in the more versatile PRO workflow, but will instead work in this created video workspace.
Another trick is to re-transcode the RED files with new settings after the edit.
These workflows can be created at will. Many will yield better results than the Quicktime workflow but are more work. I will not explain them but mention for anyone to explore.
Final Cut Pro to Apple Color
Load your quicktimes into Final Cut through the Log and Transfer, similar to P2. You will not have as many options, your quicktimes may be darker but you will have one very real advantage. You can go back to the R3D file and do a color correction in Apple Color. You will need a colorist familiar with the program. The drawbacks are speed (super slow), only one key at a time, plus inferior color algorithms compared to the PRO programs. It uses many layers to achieve what Baselight or DaVinci can do realtime. The renders are terrifically slow as well. But it is a great solution when a big color room budget is out of the question.
This requires the FCP plug-in available on the RED Support site. The white paper downloaded explains the process.
Adobe Premier to After Effects
Adobe has made it easy to get back to the native R3D files. You can edit in Premier and all your info flows into after effects for high end color correction. I’ve seen it done, but can’t help you here. It does require the Adobe CS4 plug-in available at RED support.
Or simply color correct in After Effects from other edit software. May want to conform RED files though.
Media 100, etc
Use any editing program that can handle files created with REDRushes.
RED Alert
free download at (http://www.red.com/support)
This program will help you on-set to verify your shots. You can also assure clients as to the control they have if they return to the RED file for final color correction.
Cinematographers can also color correct a shot and save a TIFF to notify the transcoders of their ideal picture.
It also gives editors a chance to change metadata and create quicktimes with specific looks.
First make sure you get the latest version if there were any upgrades to OSX or FCP.
In the File Menu, open the clip using “Open R3D”, search for one specific RED .R3D file.
To set metadata back to the camera’s default, hit “R”
To set metadata to the camera setting at the time of shooting, hit “M”
Using RED Alert will create an RSX file that will live next to the R3D file in that particular shots folder. This file can be used in RED Rushes to change the metadata for multiple clips while transcoding.
REDRushes
free download at (http://www.red.com/support)
This program will give you best Quicktimes or DNx to deal with in general. There’s no help or instructions, but it’s mostly self evident. My settings below. Alter for your needs.
Load files or folders, even one large folder containing all footage. It fill find Red files and ignore the quicktime reference wrappers - a good thing.
De-bayer at 1/4 res is fastest. I use 1/2 standard even when I’m using the quicktime workflow. Go higher if you see an issue, or lower for speed.
Timecode: I use Edgecode. If timecode was jammed on set, use TOD.
If making all quicktimes without viewing footage, use look source: Camera
It cannot see RED Alert presets but will see an RSX file next to R3D file. Use RED Alert to correct a shot, then locate the RSX for RED Rushes. Load only RED files which you want to apply this setting to and use look source: RSX.
Color space: REDSpace
Gamma: REDSpace
These make the best looking videos in general, without pre-color correcting.
Scale to 1920, fit width.
ProRes (HQ) Quicktimes for editing if system can handle. Any codec substitution is fine.
Be sure to set your desired Output Folder.
