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RED workflow at The Look
In our opinion no one handles projects shot on the RED camera better than us
The biggest problem facing the RED camera's usage up until recently was its complicated post workflow. This is not the case here at The Look
• Offline: If you're using Final Cut Pro you can import the original RAW R3D files that the RED camera generates and edit them natively in the latest version of Final Cut Pro running on a 2009 + MacPro, read here for details. With Avid, the latest versions will convert to DNxHD on import, read here for details
• Offline to Online: We require your original raw RED R3D files on a firewire drive. If you're using Final Cut Pro you can send us your project file, as well as your EDL as we can support multi-layer timelines and effects from FCP in our Quantel system. With Avid, we require both an EDL and AAF, multi-layers are supported with limited support for resizes and effects. We also require a copy of your offline as a Quicktime to reference too whether you're using FCP or Avid
• Conform & Online: Our Quantel systems will search your firewire drive using your AAF/EDL and find the shots used in the edit. It will then begin importing the material into the system at any resolution or colour setting we choose and complete the full conform. Any simple effects applied at your offline stage will be re-applied in the Quantel system. We will bring in your material with handles, allowing you to make editorial changes in the session if you wish
• VFX: Before any visual effects work takes place we will ask you to attend a pre-grade where we apply a 'ball park' look to your material. This allows our vfx artists to work with the graded plates as well as the originals to make sure any composites bed in nicely to the image. We will apply a more complex grade at the final grading stage (DCP)
• Grading: Depending on the final destination of your project we will either work at 4K, 2K or HD. We will keep your original firewire drive connected during your grading session so if at any point you want to pull in different footage you can do. Any resizes will be done on the original 4K material
• Playouts: We can playout your final graded RED project to HDcamSR, HDcam, Digibeta, DVD, QT, WMV, DPX, TIFF and many others - at any resolution you like
The Look offers the following:
Post-production supervision from scene through to screen
Industry leading workflow via shared HD disks between suites - courtesy of Quantel's GenePool
In context colour correction from the start of the grading process
Visual effects creation in parallel with the grading/finshing session
Visual effects elements individually colour corrected in the grading suite
No time wasted grading shots that do not make it into the final cut
No compression at any point, maintaining the highest possible image quality
Re-conforms for editorial changes are simple - can be done while work continues on the grade
More flexibility without incurring higher costs
Comparable workflow for images captured on film, tape or data
Uncompressed images can be exported from the suite for cinema
Editing, racking and rotations possible during the grading session
Trackable hand drawn power windows in grade, no need for multiple passes
DVDs can be created directly from the grading suite
Specialists in High Definition capture and post-production
tel: +44 (0)207 287 5313, info@thelooklondon.com