It’s no secret that the Red One camera is about to make a big impact on the production side of digital filmmaking. But for the most part, existing post workflows for Red footage relies on traditional proxy / conform models without leveraging the trend towards online multi-stream workflows.

As shown in Figure 1 below, the general post workflow proposed for Red One is to export RedCode (R3D) files using RedCine to a QuickTime format recognizable by your NLE of choice, but initially Final Cut Pro. After editorial you will then export a cuts list from RedCine to (usually) 4K DPX files. Using Scratch RED you will conform the DPX files with your cuts list and perform other color processing. Variations on this workflow exist, but in general it is conceived as a traditional proxy/conform model.  As a matter of reference 4K DPX sequences require about 1.2 GB of storage for every one second of material.  So an uncompressed 4K workflow is not practical for everybody.

Figure 1.  RedCine / FCP / Scratch Proxy/Conform Workflow for Red One (Mac / Windows)

Using CineForm's Prospect 4K with Adobe's CS3 (Premiere Pro and After Effects), an alternative online workflow is available which eliminates the need for proxy files and conforming as is shown in Figure 2.  With CineForm’s Prospect 4K, you will export R3D files from RedCine directly into either 2K or 4K CineForm 444 files which become your new online master.  The source R3D files become the backup archive master.  As CineForm 444 is an online, real-time format, the files can be immediately imported into Premiere Pro or After Effects to begin your online workflow.  In the remainder of this Tech Note will discuss workflow choices and parameter settings for optimum performance and visual quality.

Figure 2.  RedCine / CineForm / Adobe Online Workflow for Red One (Windows)

Create a new 4K 2:1 project in RedCine. Note: there is currently a bug in RedCine that doesn’t allow exporting to QuickTime codecs at 4096 x 2048, but we have a workaround for this bug until it is properly fixed in RedCine. In particular, you will need to change the resolution width of your project to 4095 as shown in the graphic below (click to enlarge).

Once again, you’ll select 4K 2:1 as the output resolution, and you’ll again need to modify the width to 4095. Notice that the Format is set to ‘QuickTime’ and ‘CineForm HD/2K/4K’ is used as the compressor. There are several Quality options to choose from. Maximum and Lossless are identical and are the equivalent of CineForm’s Filmscan 2 quality setting. Then set your Output Path and Filename and press the Red ‘GO!’ button on the right of the screen.

NOTE 1: Make sure you are not running other programs when exporting from RedCine.  In our experience the 4K exports from RedCine needs lots of memory and may cause the export to stop after the first frame.

NOTE 2: The CineForm 444 files created using a project and export width setting of 4095 are actually 4096. We manage the 4095-to-4096 conversion during the render out from RedCine.

Once the export is finished, you need to re-wrap your MOV files to AVI files as CS3 has better support for AVI than MOV.  During the re-wrapping process you are not disturbing the underlying CineForm 444 compression.  Instead, you are simply replacing the MOV wrapper with an AVI wrapper so it is almost as fast as a file copy.

Launch HDLink and click on the ‘Prefs’ button at the bottom of the HDLink program window. Use the settings shown in the panel to the right.

In general, you want to leave everything at the default settings and make sure that ‘AVI’ is selected for the Destination File Format. The Quality setting doesn’t matter in this case because you’re just re-wrapping the file, not re-encoding.

By the way, you can convert AVI files to MOV files for use on MacOS using the exact process, except you choose MOV as the destination wrapper.

The next step is to create a New Project in Adobe Premiere Pro. With the latest builds of Prospect 4K and Prospect 2K we’ve included a new preset for editing 4K files from the Red One camera. In the picture below, you can see we have selected the CineForm Project Preset labeled ‘Prospect 2K 2048 x 1024 24p’.

Now, you may be asking yourself, “why aren’t we using a 4096 x 2048 project preset?” That’s a good question. Here’s the answer. It’s not likely that you’re going to be outputting your final project at 4K. If you’re going to film, you’ll export at 2K and if you’re going to HD broadcast, you’ll be exporting at HD resolution. So a 4K project preset is not necessary. It is important, however, to create a 2K project that is exactly half the resolution of your 4K files. This will greatly increase performance in your Premiere timeline because the scaling algorithm is simpler which translates into faster processing. That’s why with our 4096 x 2048 files, we’re using a 2048  x 1024 project.

But now you ask, “if we’re not using a 4K project, then why not export from RedCine at 2K in the first place?” Here’s why. With a 4K file in a 2K project you have more control over keying and effects. Your keys will be cleaner because you’re working with more resolution. You’ll also have the over sampling benefit of being able to zoom into particular portions of your 4K image without losing detail.

 So, select the Project Preset and then choose the location and name of your project and click ‘OK’.

Next, import your files by selecting ‘File>Import’.

You’re now ready to edit your production. Keep in mind that you’ll have all the CineForm real-time transitions, effects and timeline playback available to you throughout the editing process.

Copyright © 2005 CineForm, Inc.  All rights reserved.    |    Privacy Policy