Monday, 31 January 2011

Red Camera Workflow at the VERL

Last week I gave a short presentation on behalf of the Visual Effects Research Lab to our North Sea Screen partners from Denmark and Norway.  As well as offering visual effects we wanted to make clear that we could offer a comprehensive digital post production workflow.  This particular Red Camera workflow was designed for artist / photographer Wendy McMurdo, allowing her the ability to request changes and see them made quickly during any part of the production process.

After the original .R3D files were backed up, we captured to 1080p ProRes proxy files in Final Cut Pro for the offline edit.  Once the offline was locked, we exported the edit decision list as an .XML and used Clipfinder 2.2 to reconform the edit to the original .R3D footage.  At this point we moved platforms, opening the .XML exported from Clipfinder on the Mac in After Effects on Windows.  This required a little text editing to change the file path, check here for Gerard Tay's tutorial.  Red Cine-X was used to monitor first light grading but these settings had to be manually copied to the .R3D source settings in After Effects because CS4 cannot read the additional metadata files that Cine-X generates.

In After Effects the composition and footage was scaled to 50% for a 2K resolution finish.  This allowed for reframing shots and stabilizing without loss of effective resolution.  Once visual effects were completed, we rendered to DPX sequences and wrapped them as quicktimes using AJA's DPXtoQTTranslator.  These were brought into the Final Cut Pro 2K online edit along with the soundtrack and sent to Apple Color for grading.  Once graded the final film was archived to a 2K tiff image sequence.