Engineers at the London post-production facility have been able to decrease the processing time for debayering, Quick Time encoding and DPX generation by using clustered Apple Mac Pros.
At the same time, they are able to make better use of available storage for both short and long form offline projects by transcoding the R3D files to SD Quick Time movies.
“One of the greatest challenges in working with Red footage is the time required to process the Raw material,” explained Daniel Sassen, head of technical operations at Envy.
“We have a number of Red workflows available depending on the clients' preferred editing system. A common Red offline workflow involves compressed HD Quick Time movies, which is perfectly workable but can be costly in storage.”
As part of the offline process a “one-light” grade can be applied to single shots or all of the material based on the camera metadata, or a look that has been pre-defined by the client or director of photo-graphy using the Red Alert software.
Envy is working on a couple of unnamed promo and commercial projects using this process.
The company has recently completed a series of 3 Minute Wonders for Amnesty International, shot on Red and the Sony EX1, and a feature about the proposed Heron Tower building, shot entirely on Red, by Mind's Eye Media.
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