4K 2:1 Workflow15 minute short

By Chandra Kilaru

ABOUT THE PROJECTLogline: Religion against Religion, country against country, wars are waged, innocents die, and a generation is lost. Set around a backdrop of a psychological thriller, it questions one's perception of what is right and what is wrong.

Shooting Format: REDCODE 4K 2:1, 23.97 FPSFinal Output File: HD Uncompressed 10 Bit 2K (2048 X 1024) .mov fileDistribution Format: SD DVD. Blu ray DVDExhibition Format: HDCAM. 35MM.

1 Copyright © 2008 Chandra Kilaru. All Rights Reserved.

SHOOT DAYS - 2- 06/14/08 & 06/15/08

PRODUCTION HARDWARE - Red Camera- 2 Red Drives- 4 Red Bricks w/2 chargers- EVF- LCD- Cradle for Red Drive- Battery Plate- Zeiss Super Speeds- Matte Box with follow focus- O’ Connor 2575 Fluid head- O’ Connor 55L standard legs- XLR to mini-XLR cables- 1 Ton grip & lighting package- Doorway dolley- Lacie T1 Terabyte HDD- 2 WD Passport 250 GB HDD- Macbook Pro 15”/4G RAM

POST HARDWARE- Macbook Pro 15”/4G RAM- 1TB HDD- DVI to HDMI convertor

SOFTWARE- Final Cut Pro 6.04- Crimson Workflow- Redcine- Color- Compressor- DVD Studio Pro

Chandra Kilaruckilaru@comunx.comwww.chandrakilaru.com Writer/Editor/Producer/Director

A STEP TOWARD HEAVEN WORKFLOWJu

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PRE-PRODUCTIONThe following are important points to note for a RED shoot.

1. Things to get:

1.1. At least 2 Red Drives. This is an absolute must if you are shooting high speed as the drive needs to be formated when changing from 4K to 3K or 2K.

1.2. 2 to 4 compact flash cards to capture a quick shot to test lighting for a scene.

1.3. XLR to mini XLR cables to record sound into the proxy files.

1.4. 2, 1TB external HDD's for on set backup. 1 TB HDD will be used for editing, the other for storage.

1.5. Firewire 800 Hub.

2. Format the external HDD’s.

3. Create separate folders for each day in the

external HDD's. For each day create folders for 24P and high speed (if applicable).

4. Create a log sheet designed for RED and applicable to the shooting style. Find below a sample log sheet.

2 Copyright © 2008 Chandra Kilaru. All Rights Reserved.

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PRODUCTION1. After each shot, take note of the file number and the scene/shot/take details in the log sheet for post.

2. BACKUP the data from the RED DRIVE into the 2 external HDD’s after each scene.

3. After the backup double check each RED file in RedAlert/proxy file in QuickTime for video & audio (quicktime proxy, use

_M files).

4. If there is a camera PAN at close range, there is a good chance that there might be a stutter (based on the speed of the

camera moment). Double and triple check these shots in both RedAlert & QuickTime.

5. Work with your DP to create the right color tone for the movie during the shoot. This can be worked on in post, but even better if worked on

during principle photography.

3 Copyright © 2008 Chandra Kilaru. All Rights Reserved.

DO NOT CHANGE THE NAMES OF THE FILES OR FOLDERS CREATED BY THE

CAMERA.

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POST-PRODUCTION1. Create a hierarchy of folders within the 1TB editing HDD.

1.1. Selected Footage

1.1.1. A folder for each scene

1.2. Extra Footage

1.3. FCP (select this as the default FCP location in FCP settings)

1.4. Prores

1.4.1. A folder for each scene

1.5. Crimson

1.5.1. 3 folders as 2K, 3K & 4K.

1.6. REDCINE

1.6.1. 3 folders as 2K, 3K & 4K.

1.7. COLOR (select this as the default COLOR location in COLOR settings)

2. Browse through the entire footage with the help of the “log sheet” and select the shots you like. Distribute these shots

within the scene folders which lie within the selected footage folder. The rest go into the Extra Footage folder.

3. The next step is where you transcode the selected footage into Prores files for native editing using FCP 6.04. Open

Compressor and select all the _H files within a scene folder in the selected footage folder. Render them to 2K (2048 X 1024) files with Apple Prores HQ (Progressive) as the setting. Choose the Destination folder as the same scene folder within the Prores folder created in step 1.4. Repeat the same process for each scene (suggest to do in the same batch to

save time).

4. Once the transcoding is done, import the different scene folders within the Prores folder into FCP. Create a new sequence (any setting will do). Drag a clip into the sequence timeline. FCP will ask if “you want to change the sequence settings to match the clip settings”. Click on “yes”. Now the timeline is set for your edit.

5. Finish your edit with the Prores files. Do not add transitions or change the speed on any of the clips. This can be done with the online clips.

6. Copy the sequence 3 more times, one for 2K (if applicable), one for 3K (if applicable) and another for 4K.

7. Open the 4K sequence and delete the 3K and 2K files. Repeat the process for the 3 sequences so that you will have a sequence for each file size. Following the following steps from 8 till 23 for each of these sequences.

8. In the 4K sequence, export the XML out of FCP.

9. Open Crimson workflow. Choose the exported FCP XML. Crimson will bring up the list of files. Now add the “Selected

Footage” folder and click on MATCH.

10. Crimson will select all the R3D files. Each file selected will be named “Found”.

11. Go to the “Intermediate” tab and select the crimson folder created in step 1.5 for cowboy intermediates.

12. Go to “Redcine” tab and “Export Redcine XML”.

13. Open REDCINE and click on “Load all”. Select the Crimson folder with the cowboy intermediates.

4 Copyright © 2008 Chandra Kilaru. All Rights Reserved.

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14. REDCINE will load all the selected clips. Now click on open and select the Redcine XML exported out of Crimson. Now the exact lengths of the selected clips will match your offline edit in FCP (for this to happen, you shouldn’t change the speed of the clips in the offline edit).

15. Within the Project tab, select the source footage resolution as 4096 X 2048 (for 3K, 3072 X 1536 and for 2K 2048 X 1024).

16. Do a one-light color grading on each clip in REDCINE. Make sure you don’t copy the color settings from day to night and vice versa.

17. Go to the Output tab and select the REDCINE FOLDER created in step 1.6 as the output destination.

18. Select the output format as QuickTime and the codec as Apple Prores HQ (Progressive).

19. Above the format, choose different events & file names for naming convention.

20. Select the dimensions as 2048 X 1024.

21. Render them out.

22. Once the render is done, go back to Crimson and go to the Roundtrip tab. Choose the folder with the REDCINE footage

rendered in previous step. Select the path for the RoundTrip XML and click on “Generate Roundtrip XML”.

23. Open FCP and import the Roundtrip XML.

24. Once the 3 resolution sequences (4K, 3K & 2K) are imported into FCP, build the edit sequence again based on the edit sequence built in step 5.

25. Send this sequence to COLOR for Color correction.

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Offline Online with REDCINE

Color Corrected with COLOR

26. Once successfully color corrected, render it in COLOR and send it back to FCP.

27. Now you have a 2K (2048 X 1024) color corrected Prores 422 HQ file.

28. Add your transitions, filters, change in speeds, titles and so on.

29. Using compressor, export to the different formats you like.

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CHANDRA KILARUWriter Editor Directorckilaru@comunx.com

7 Copyright © 2008 Chandra Kilaru. All Rights Reserved.

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A Step Toward Heaven is a property of Chandra Kilaru.Final Cut Pro, Color, Compressor, DVD Studio Pro, QuickTime, Macbook Pro are properties of Apple Computers Inc.Red Logo, REDCODE, RED-DRIVE, REDCINE, REDALERT are properties of Red Digital Cinema Company.Crimson Workflow is a property of Ian Bloom.All other products are properties & trademarks of their respective owners.