The RED ONE camera creates several different files when it records. The first is the 4K R3D file, which contains the RAW data. In addition, multiple QuickTime proxy files in various quality and frame sizes can be created in camera allowing for quick and easy importing into Final Cut Pro 6.0.3. H quality accesses half the source R3D file, making the frame size 2048 x 1024; M quality accesses half the H quality files, making the frame size 1024 x 512 and P quality accesses half of the M quality files, making the frame size 512 x 256. The particular workflow presented here uses the H quality 2048 x 1024 proxy files exclusively. Note that all references to the proxy files explained are based on the camera set to 4K 2:1.

The QuickTime REDCODE proxy files are not self-contained movies. Instead, they point back to the original 4K R3D file. Final Cut Pro users could use the REDCODE QuickTime proxy files “as is.” However, I have found playback and editing is less than ideal for my applications. A better solution is to use the RED log and transfer plug-in for Final Cut Pro 6.0.3 and higher, which lets you log and transfer the R3D files and the same time transcoding from the 4:4:4 REDCODE codec to the highly efficient Apple ProRes 422 codec. One advantage to using the ProRes 422 codec is you can harness Final Cut Pro’s numerous RT extreme image quality and playback frame rate levels, thereby reducing the overall payload placed on the CPU to preview effects without rendering.

Step 1

SHOOT WITH THE RED ONE CAMERA, USING COMPACT FLASH

Begin with these project settings: 4K 2:1, 23.98fps. The camera writes directly onto an 8 GB compact flash card, which will give you approximately 4 minutes of record time. After the files are written to the card, take it from the camera and download it to an external hard drive on the first of two workstations. This external hard drive will become a circulating hard drive used to shuttle the media to the post facility; the two additional hard drives remain on set. The golden rule: Always have media on redundant hard drives and at different locations so you reduce the chance of loss and/or damage.

You can immediately view the ProRes 422 2048 x 1024 FCP sequence on an external HD multiformat monitor at the proper frame size of 1920 x 1080 or lay it off to tape via the KONA 3. The KONA 3 can simultaneously output to HD and downconvert to standard definition in various aspect ratios, including center cut, letterbox or anamorphic. On set, this streamlines the client’s viewing and approval process, as the sequence can displayed on multiple HD or standard-def monitors.

Step 2

CREATE SEPARATE WORKSTATIONS FOR LOG AND TRANSFER AND THE DAM PROCESS

I take the responsibility I have when dealing with the security of any file-based media asset very seriously. I like to compare my role to a banker accepting very valuable high-quality deposits (the visual and audio media) and then securing them electronically. This part of the job involves skills sets referred to as “digital asset management” and is critical for maintaining a clear, concise and safe on-set practices in the field.

Paramount is the use of two separate workstations to divide the log and transfer and pre-vis from the digital asset management process. The first workstation used for the log and transfer is an 8-Core Mac Pro tower equipped with an AJA KONA 3 card; download the R3D files to the internal raid. The processing power of an 8-Core Mac Pro is absolutely necessary if you want a short turnaround time for transcoding the proxy files from REDCODE to ProRes 422.

During initial pre-production testing, I discovered a major bottleneck when I chose to use a single workstation. The was due to the current 4:1 turnaround time required for the REDCODE to ProRes 422 transcoding process. For every one minute of REDCODE media, it will take approximately 4 minutes to transcode to ProRes 422. In addition, the compact flash download time for an 8 GB card is roughly 2 GB’s per minute, which equals about 4 minutes per 8 GB CF card. Factor in that you will download each card three times, in addition to the log and transfer process, and you can see that a single workstation would be too slow and tedious for a quick turnaround.

With the first workstation dealing exclusively with log and transfer, you can delegate the second station completely to the DAM process. The time savings are enormous; given the rapid pace of production when multiple 8 GB CF cards containing media arrive non-stop (and the fact that each CF card must be downloaded immediately and be reformatted and used again once the DAM process is completed) no spare minute can be wasted.

Step 3

PRE-VIS AND COMPOSITE WITH FCP

After the transcoding process is completed, the ProRes 422 clips can be immediately placed into a FCP 2048 x 1024 sequence for editing or compositing tests. At this stage, you can combine foreground and background elements within FCP, as well as apply primary color correction grading. The flexibility of using RT Extreme speeds up the process for certain effects in which rendering is not needed to preview.

Step 4

VIEW YOUR OUTPUT VIA THE KONA 3

The ProRes 422 2048 x 1024 FCP sequence can be immediately viewed on an external HD multiformat monitor at the proper frame size of 1920 x 1080 or laid off to tape via the KONA 3. Using the KONA 3 as described above streamlines the client’s viewing and approval process, since the sequence can be displayed on multiple HD or standard-def monitors.

Step 5

TRASH AND REFORMAT YOUR CF CARDS

Once I confirm that the R3D files from the original CF card downloads are safe, I typically trash the media on the CF cards, then reformat the card in camera, making it ready for use again immediately. This part of the workflow is very delicate (the original media is being literally erased after having been shot some 20-25 minutes earlier). Make sure you maintain proven DAM procedures and practices in place throughout the entire process.

Tools Used: Apple Final Cut Pro, AJA KONA 3, RED ONE digital footage

Your Guide

Anthony Salgado

Freelance Video Engineer

Camera-shy Anthony Salgado is a freelance video engineer with over two decades of production experience in film and video production. Clients include a who’s who of major commercial agencies and production companies producing commercial and broadcast HD projects.

ANTHONY SAYS KEEP IN MIND…

In the twenty five years I have been employed as a freelancer I have seen countless iterations of the latest technological wonder come and go, all of which have required re-tooling existing workflows and on-set protocols. The current role I address on set is to comprehensively incorporate a diverse number of digital camera systems and formats, as well as streamlining the technical and creative workflows for a particular project. I have to figure out how best to work with emerging camera technologies while bridging the gap between a DP’s artistic vision and the time and logistical restraints placed on the production.

On a recent commercial shoot, I devised a workflow for creating on-set pre-vis greenscreen compositing of clips shot with a RED ONE digital cinema camera. I also had to manage and download the media onto multiple hard drives, one of which would be delivered to the post facility on a daily basis, and a second and third that would be used for redundancy.

Anthony Salgado

Contact the editor with comments or questions: bmarchant@accessintel.com.