It's a Brave New World – Blog edited by Scott Arundale

Dennis Alaniz is a Chapman alum and former student of mine who has been a very busy editor and on-set DIT.   As I have said many times, the new camera technology has created tremendous opportunities for young filmmakers to get hired and get on-set and go to town managing data, looks and how the final edit is going to be made.   It takes organization, discipline and passion because there is a mountain of raw data out there ready to be corralled and whipped into shape.   I think you will find his breakdown to be very useful.

RED WORKFLOW by Dennis Alaniz                                    August 5, 2010

DISCLAIMER: As an emergent technology, a RED workflow that works today will likely need to be refined in as short a time as a month. The workflow I describe below suited my particular situation at my particular time. It is my hope that what I learned will serve as a guideline for any future workflow using RED technology.

And remember, the newer the technology, the bigger the risk. It hurts living on the bleeding edge. Trust me! The list below is what we specifically worked with. If you can get better, faster machines, do it!

Hardware

2 RED Cameras with Mysterium X Sensor (30.4 firmware and 30.5 firmware)

Please do what you can to have the same firmware on both cameras. It can save you a major headache later in the process.

6 16GB Flash Cards for RED Camera

You need more! Ideally, you would never reuse a card. We were stressed to keep cards clear so the film could keep shooting. An external drive is also an option, but moving parts make things much more precarious.

2 MacBook Pro Laptops for DIT

A laptop of decent speed that can connect to firewire or e-sata is necessary to keep cards copied and cleared. It doesn’t need to be laptops, but you should have one or two separate machines to copy the flash cards over to external drives. Laptops are more helpful if you need to stay mobile.

2 Flash card readers

As many as you need and can plug in to your machines. Just keep flash cards copied and empty IF the data has been verified by an MD5 after the copy.

Mac Pro (8 core, 16BG RAM) for Asst. Editor

You’ll need a fast machine to facilitate copying files, rendering video, and keeping several apps running. Most importantly, you need to stay as much in pace with the production as possible.

REDRocket video card

An extremely expensive accessory, but if you can afford it, it will keep you moving at an impressive pace and allow you to manipulate and play back the image with very little performance hit. Something your Director and Cinematographer will thank you for. Every single day!

E-SATA Card for Asst. Editor

The $20 from Best Buy will suit you just fine. As long as you’ve got a lot of very fast connections (that are hot swappable) to your Mac Pro because you’ll be shuffling a lot of drives.

6TB Redundant storage

8TB G-TECH RAID 5 with G-TECH E-SATA Card (not the same card as listed above)

6 2TB G-TECH External RAID 0 (Set Drives)

These six drives were broken into groups of three: A, B and C. When one card was copied off, it was copied to both drives in a group at a time. (ex. Card 001 was copied to Drive A1 and A2. What card was copied to what group depended entirely on availability. This redundancy will be explained in the Appendix 1 below. Exactly how much you’ll need depends on a great many factors. 6TB barely suited us. I would have been happy to have an additional 2.

6TB Work Storage

2 4TB G-TECH External Non-RAID

2 1TB External FireWire

The two 4TB drives were my personal raw RED storage, Import/Export, SFX Drives. Again, I’d have been happier with about another 4TB. This redundancy is also explained in Appendix 1. The 2 1TB were used as an emergency back-up to the editor’s drive and as a delivery drive respectively. Ideally, you’ll have a back-up drive onsite and offsite for every machine being used.

Optional Hardware

Laptop and USB External Drive (at least 500 GB)

Delivering low res dailies for use on set (more on this later).

Software: RocketCine-X (depreciated)

Viewing dailies and transcoding footage

REDCine-X

Transcoding for upres (the official replacement for RocketCine-X)

FileMaker Pro

Maintaining a shot database

ClipFinder (2.2 and 2.5)

Exporting shot information and still images for use in FileMaker Pro. Different versions will be explained later.

R3D Data Manager

Used to verify the MD5 of your clips after they’re copied off the card. This program is a must!

Final Cut Pro (Or the NLE of your choice)

Shot organization and synching dailies

Workflow

To reiterate the critical pieces of data from above, we shot on a newer model RED with a Mysterium-X sensor. That alone drastically altered my intended workflow. I won’t go into all the technology as to why, but simply say, know the color science of your camera! The Mysterium-X uses a new color science called FLUT and was the specific reason for this workflow.
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Knowing the color and gamma space your finishing in isn’t necessary, but it saved me a step early on in the process. Whatever you choose, be consistent in it when transcoding from RED. We were working in a color space of Camera RGB and gamma space of REC709. (ADDENDUM: Changing post houses last minute may facilitate rerendering all the red footage with a different gamma space. This is still an unknown)

As the director was also editor for this film, I was required to work from a trailer on set. This made my job easier and allowed me to keep pace with the production. Equipped with the above hardware, our day-to-day workflow is detailed below.

On-Set Workflow:

Footage shot on the RED to Flash Cards.

Footage offloaded using R3D Data Manager to verify MD5 and to duplicate on two of the above 2TB set drives.

Data from one of the two set drives is copied to one of two 4TB G-TECH Non-RAID drives. I was always delivered only A2, B2 or C2. This was to ensure that, if I corrupted a drive, I never corrupted the other in the group.

Using RocketCine-X (Now depreciated), newly copied footage is transcoded to 720p Proxies and saved to USB external 500GB drive. Footage is then transcoded again to 2K and saved on the 6TB G-TECH RAID.

720p footage is loaded into Final Cut. Organized into bins and properly labeled.

Raw RED footage is again loaded into clipfinder to export an XML of all data along with highest quality screen captures, one every second.

XML is imported into FileMaker Pro. Cross referencing organized footage in Final Cut, missing data (i.e. Shot name) are filled in FileMaker Pro.

Up to 3 screen captures per shot are added to the FileMaker Pro database for visual reference.

At the beginning of the next day of shooting, audio from the prior day is delivered and copied to the 6TB RAID

All footage captured the prior day should be in its own daily Final Cut Pro project. The prior day’s media is then reconnected to the 2K media on the 6TB RAID. This “online” project is synced to the newly received audio.

The day begins again from the top.

In post, the workflow isn’t so dogmatic. Some shots have been pushed in beyond what the 2K image can handle and so is being reconformed to a 4K online. VFX shots are also being reconformed to 4K.

4K Upres:

Place all footage to be reconformed into a new timeline.

Export XML from Final Cut.

Using ClipFinder 2.5 (THIS IS IMPORTANT! ClipFinder 2.2 CANNOT handle the following steps!) import the XML using the Import FCP XML with relevant settings defined (ex: VFX requires 8 frame handles).

Replace the MOV with the R3D media.

Send everything to a RedCine-X Bin. (This, specifically, is what you need ClipFinder 2.5 for)

Double check the color settings are correct for each clip and export them as 4K files (VFX clips go to their own drive, online 4K shots go back to the 6TB RAID).

For footage to be reconformed in FCP, go back to ClipFinder and choose Run Conform on FCP XML file. Make sure you point the application to the folder with the NEW 4K FOOTAGE!

Import this new XML into FCP. The newly imported clips can now be dropped into the show timeline and will be pointing to the higher res 4K footage. Double check that your push-in, repositions, filters, etc., match the clip it’s replacing. Resting it above the 2K allows you to keep the 2K as a reference in case something goes wrong.

The advantages to this particular workflow (on and off set) are:

It allowed me to run onto set with the low res proxy to answer any continuity questions with great ease.

I was able to show the director, cinematographer, costumer, etc., high res footage approximately 1-2 hours after it was shot. Using RocketCine-X, I was also able to grade some shots on the fly to verify we were on the right track.

Finding shots in the FileMaker Pro database was easy as I could cruise the database looking for a particular image, or search by day it was shot, scene name, etc.

Editing online could begin immediately. While on set, I put together a teaser to show the crew incorporating footage shot as recent as the day prior.

The delivery file to the post house will require no reconform later down the line. They intend to take our semi-graded 2K ProRes file, with an EDL to notch out the shots, and do any touch-ups to that file.

Reconforming to a 4K image is extremely easy as I have the raw RED material handy and, since the file names were honored, sending it to RedCine-X is painless and the REDRocket cuts down transcoding time drastically.

Disadvantages to this workflow are:

As the 6TB drive is connected to the editor’s machine and not mine, streaming 2K over an ethernet cable is not reliable. Pulling that much data and hitting the drive from two machines can cause a massive performance hit.

Sharing Final Cut projects isn’t easily done. To solve this, any changes I made on my end had to be copied to the editor’s project by hand on his machine to ensure he wasn’t editing the same project at the same time.

Editing online takes a LOT of hard drive space and render times can escalate quickly. To create a DVD of the full timeline can take anywhere between 5 and 8 hours.

Here’s a link to the FileMaker Pro template I used on set. It’s hard coded to extract the reel name based on where I had the raw RED files stored, so that will need to be modified to suit your needs. The included XSLT file is to handle the translation from ClipFinder’s particular XML format into something FileMaker Pro can handle. When you import an XML file into FileMaker Pro, you’ll see where to use this XSLT file. (NOTE: This has not been tested with an XML from ClipFinder 2.5)

That, in a nut, is the majority of my workflow . There were a number of subtleties in variation I had to employ to accomplish any particular tasks (ie. uploading for web, creating specific screener DVD’s) and can describe any of those in greater detail if you need assistance with your own workflow.

Appendix

The intent of our redundancy was to ensure integrity and safety of all critical data. After the film finished shooting, there were now 8 drives with 3 different copies of all the raw RED footage: one copy was split amongst drives A1, B1, and C1, another on A2, B2, and C2 and the third was split among my two 4TB drives Cold Storage – 1 and Cold Storage – 2. My two drives served as the drives I would use when, for whatever reason, I had to return to the RED footage to re-render anything. The two remaining sets were separated from each other and both put in a safe place in different parts of town. This ensured that the destruction of no one building would completely destroy the footage.

FileMaker Pro template

Panasonic has kick started the “First Year of 3D Era” thanks to the development of a digital twin-lens system that allows regular DSLR cameras to capture in 3D. Belonging to the LUMIX line, the new G Microsystem will be interchangeable, adding an entirely new dimension to traditional photography. Simple for the end user because of the flexibility of interchangeable lens cameras, this will provide  “instant 3D shooting, without distortion or time lag between left and right images.”

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Source: mobilemag.com

In a recent article in the New York Times, Joss Wheedon and J.J. Abrams speak out against stereo filmmaking.

While Hollywood rushes dozens of 3-D movies to the screen — nearly 60 are planned in the next two years, including “Saw VII” and “Mars Needs Moms!” — a rebellion among some filmmakers and viewers has been complicating the industry’s jump into the third dimension.

It’s hard to measure the audience resistance — online complaints don’t mean much when crowds are paying the premium 3-D prices. But filmmakers are another matter, and their attitudes may tell whether Hollywood’s 3-D leap is about to hit a wall.

Several influential directors took surprisingly public potshots at the 3-D boom during the recent Comic-Con International pop culture convention in San Diego.

“When you put the glasses on, everything gets dim,” said J. J. Abrams, whose two-dimensional “Star Trek” earned $385 million at the worldwide box office for Paramount Pictures last year.

Joss Whedon, who was onstage with Mr. Abrams, said that as a viewer, “I’m totally into it. I love it.” But Mr. Whedon then said he flatly opposed a plan by Metro-Goldwyn-Mayer to convert “The Cabin in the Woods,” a horror film he produced but that has not yet been released, into 3-D. “What we’re hoping to do,” Mr. Whedon said, “is to be the only horror movie coming out that is not in 3-D.”

By year’s end, there will be more than 5,000 digital screens in the United States, or 12.5 percent of the roughly 40,000 total, easing a traffic jam that has caused 3-D hits like “Clash of the Titans,” from Warner Brothers, to bump into “How to Train Your Dragon,” from DreamWorks Animation, to the disadvantage of both.

Tickets for 3-D films carry a $3 to $5 premium, and industry executives roughly estimate that 3-D pictures average an extra 20 percent at the box office. Home sales for 3-D hits like “Avatar” and “Monsters vs. Aliens” have been strong, showing they can more than hold their own when not in 3-D.

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Behind the scenes, however, filmmakers have begun to resist production executives eager for 3-D sales. For reasons both aesthetic and practical, some directors often do not want to convert a film to 3-D or go to the trouble and expense of shooting with 3-D cameras, which are still relatively untested on big movies with complex stunts and locations.

Filmmakers like Mr. Whedon and Mr. Abrams argue that 3-D technology does little to enhance a cinematic story, while adding a lot of bother. “It hasn’t changed anything, except it’s going to make it harder to shoot,” Mr. Whedon said at Comic-Con.

The crowds cheered, as they had in an earlier Comic-Con briefing by Chris Pirrotta and other staff members of the fan site TheOneRing.net, who assured 300 listeners that a pair of planned “Hobbit” films will not be in 3-D, based on the site’s extensive reporting.

“Out of 450 people surveyed, 450 don’t want 3D for ‘The Hobbit,’ ” a later post on the Web site said.

But in Hollywood, an executive briefed on the matter — who spoke on the condition of anonymity because of the delicate negotiations surrounding a plan to have Peter Jackson direct the “Hobbit” films — said the dimensional status of the movie remained unresolved.

Asked by phone recently whether die-hard fans would tolerate a 3-D Middle Earth, Mr. Pirrotta said, “I do believe so, as long as there was the standard version as well.”

In his own family, he said, the funny glasses can be a deal-breaker.

“My wife can’t stand 3-D.”

I recently watched the Step Up 3D Trailer on line and was struck how dance may be best suited towards 3D photography. The subjects are moving yet can be photographed at close range.  The moves (unlike sports) are rehearsed.

Now it will be awhile before we can actually post something that plays back in 3D but in the short term we just need to use our imagination.  Isn’t that what using a 2D plane to create a 3D image is all about?
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UPDATE 7.28.10

Panasonic officially released details about their much-anticipated consumer-level 3D camcorder, the HDC-SDT750, in Tokyo today. MSRP $1400

The camera comes with a detachable 3D front lens that captures 3D video and images, viewable with a direct HDMI connection from the camcorder itself to a 3D TV or via a 3D-enabled Blu-ray player. It shoots in 960×1080 resolution, so can’t be called a full 3D HD camcorder, but its still impressive. Sound is recorded in 5.1 surround, via five separate microphones, and a 3″ touchscreen LCD allows good user control.

The camera sports a detachable large-diameter (46mm) F1.5*3 Leica Dicomar lens.

The release will excite 3D TV manufacturers, who will be hoping that user-generated footage will help bridge the substantial gap available 3D content.

The HDC-SDT750 will arrive on shelves in October, but a Japanese-only version, the TM750, which includes 96GB of internal memory but no 3D conversion lens, will be released on August 20.

Posted 7.23.10

After delivering the world’s first pro quality 3D HD camera earlier in the year,  Panasonic have said they will unveil a new 3D camcorder in Tokyo next week.

Although details are still under wraps, the company has revealed that the successor to the AG-3DA1 will also feature a twin len assembly but at a much lesser cost than the not-insubstantial $21,000 price tag of the original.

Panasonic and other major consumer electronics makers have been pushing 3D televisions in the last few months as the first professional 3D content begins to appear on Blu-ray Disc and via television networks.

The next target for the companies is products that allow consumers to create their own 3D content, which means an affordable camcorder. Next week we will see what they have in store.

source: hdguru3D.com

According to Rupert Gavin, CEO of Odeon & UCI Cinemas, speaking on BBC radio. Odeon is spending £70 million ($107 million) converting screens to digital. Odeon expects to have 500 digital screens installed by the end of summer, with Cats & Dogs and Step Up 3 still to come on 3D.
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Odeon’s also holding a 3D live fashion show for Ozwald Boeteng at its flagship Leicester Square site in September. Sashaying up and down the catwalk will be beamed live to other cinemas in Paris, Milan and Tokyo. Designer 3D glasses are sure to follow.                      Source: Deadline.com

For those who would like to demo the latest version of Avid Media Composer vers.5, there will be a reception at Dodge College this Thursday, July 15 with a hands-on opportunity to work with the system hosted by  Keycode Media.

It starts at 6pm for food and drink

Demo starts at 6:30pm in the Folino and moves into separate rooms.

register today to save your spot.

Applications Specialist, Casey Richards, presented the new features that Avid is touting to a crowd of Hollywood editors and post supervisors today. The interface has changed somewhat and the reaction was generally positive as witnessed by the rounds of applause following the introductions.

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Drag & Drop Editing Tools

First up was the Smart Tool Set, a small unobtrusive window that reminds one of the original toolbox found on Premiere and subsequently FCP.  With single mouse clicks, editing can be dragged and dropped in the timeline, trims effected and so on.

Audio is New & Improved

Audio waveforms are drawn immediately and there is no re-draw during changes as the information is already cached.  Real Time Audio Support (RTAS) offers sound processing plugins that do not require rendering and can be auditioned and tweaked on the fly. In fact the GUI is now looking and behaving more like a Pro-Tools session with Solo and Mute buttons on each track.  You also have 5 containers in which to drop each audio plug-in and arrange in terms of hierarchy. Stereo Pairs can be embedded in a single audio channel.  Clip Gain and Auto Gain can be accessed right at the track level.

Closed Caption Support

Will Brown of CPC demonstrated their Mac Caption software which integrates easily with Avid.  He showed how an .scc file is formatted and exported using AAF and then simply dropped on the timeline as a data stream.  It can even be edited alongside the picture.  Unfortunately the text windows can not be displayed anywhere in the Avid and he cautioned that trimming and editing the data stream can result in truncated captions. Avid now has the ability to ingest/capture/separate these embedded streams using the Media creation tool and supports AFD, V-Chip and XDS.

Edit Natively using AMA

Using Avid Media Access, Media Composer 5 can handle Red (.R3D), Quicktime (.MOV and H.264), XDCAM, AVCHD, and the latest Canon XF codec which was announced at NAB this year and supports their now famous DSLR cameras such as the 7D and 5D.

The Red workflow provides full, half or quarter debayering and allows for the inclusion of custom look up tables (LUT). MC5 can import RMD, RLX or RSX files, thus eliminating the need for Red Cine. It should be noted that the native footage can not be shared on ISIS or Unity environments without first consolidating (rewrapping) using MXF.

Mix & Match Frame Rates and Resolutions

Like AMA this is not a new feature but one that Avid continues to promote.  After years of intolerance on behalf of the project settings, the fine folkes of Tewkesbury (soon to be Burlington, Mass) have come up with a “swiss army knife” solution, meaning broadcast quality real-time conversion, with the ability to adjust frame interpolation and pull-down. Impressive although the green dot is always a little intimidating.

Support for External HD Display

Avid has partnered with Matrox MX02 Mini to provide for an inexpensive solution to the HD client monitoring problem.  Avid goes to great pains to stress that this is an “output only” device even though other applications can utilize the input functions. Instead they point out the firmware update on the Nitris DX box which now enables the second video spigot and allows for full-quality 4:4:4 HD-RGB color space processing in Media Composer using dual HD SDI connections.

The Bottom Line:

This upgrade is a must have.  They claim it is software based and does not require any acceleration, although the Nitris DX figures prominently in most profe$$ional solutions.  Avid has managed to place the shot across the bow against what FCP has had to offer and places the ball firmly in Cupertino’s court as to who can provide the most robust professional solution.  I, for one, am glad to see that Avid’s marketing dollars have FINALLY been spent where it was needed most, which is software development.  For too many years they have ignored Hollywood, believing that the global market would carry them to further success.  Game on!

Review of the game broadcast can be found here

DirectTV steps up to the plate on July 10th and 11th. Now is the time for Best Buy to start hustling those 3D displays and play the game in stores, despite the lack of content.
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Element Technica has developed an ultra-small Neutron 3-D rig for stereoscopic video capture using small jibs, Steadicams, portable cameras and point-of-view positions.

The Neutron is designed to accommodate lightweight 3-D camera packages. Live sports and entertainment productions demand smaller, less obtrusive cameras for point-of-view camera angles where the camera must fit into tiny and sometimes dangerous spaces.

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Like the Quasar, the Neutron can be configured into both over/through and under/through beam-splitter modes. Whether a production chooses to employ the larger Quasar, the very small Neutron or the upcoming medium-sized Pulsar, the crew will be able to assemble and align each rig in less than 30 minutes, and convert from side-by-side to beam-splitter mode, or vice versa, in less than 10 minutes, according to Element Technica.

Source: BroadcastEngineering.com

In its latest push to remain relevant in the online video market, Adobe is going to add a new layer to its Flash standard: a 3D layer.

Adobe has posted information on its official blog about a session at its developer conference in October called Flash Player 3D Future.
The session will “dive into the next-generation 3D API coming in a future version of Flash Player,” according to the session info.

3D computers are just beginning to make their way to consumers, but 3D content is still sparse. Among the first content available are a handful of high-end PC games and streaming video, like Nascar’s recent online broadcast of its first 3D race.

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Flash is on the edge of irrelevance ever since Apple nixed Flash support on the iPad and instead relies on the alternative, new HTML5 standard.

The session will be October 27 in Los Angeles.

Source: TGDaily.com