James Hunter is chief engineer at Evolutions.
What are the main issues in posting Red material?
The main one is time. A number of factors make the processing of Red footage very slow. It can take up to 10x real-time to get the footage imported into an Avid.
How is the workflow evolving?
Historically, many workflows used by facilities have involved converting RAW files into DPX, leading to much less flexibility in the grade. What we’re doing here is working with the RAW files natively in Baselight. We then render back Avid source media, meaning that the online editor gets back-graded rushes with handles and has more flexibility in the post grade edit.
What are the benefits of shooting on Red?
With Red you can shoot 4K material on a camera much more cheaply than its direct competitors. 4K means you can really zoom into the frame if you’re delivering at HD resolutions – we zoomed in 200% on some shots on Red Dwarf: Back to Earth. It also comprehensively futureproofs the material. Red’s wavelet compression also means the files don’t take up massive amounts of storage, and, of course, the pictures from it look great, especially when used at HD resolutions.
What are the main tips from a post perspective for shooting on Red?
The main one has to be discipline in your data management. Productions need to keep detailed records and keep an eye on file structures and naming conventions – that can save a lot of headaches in post. And involve your post house as early in the production as you can.