It's been a while since I've dealt with Red Media. On an upcoming 4096x2160 project they shot Almost True 4k in that the main Red Cameras are showing up as 4096x2155 when ama linked. Not sure why they don't show up as 4096x2160 but I will learn more about that as we go. They also shot one camera at 5K 5120x2694 and another at 6K 6144x3167 with some of the 6K footage being shot upside down. I assume the idea is to allow some punch in etc...
For offline everything is being ama linked and transcoded to DNX 36. I've told the AE not to bake in the frame flex, even the rotation for the upside down shots. This will allow for the cleanest path when uprezzing the material. I'm telling them that offline needs to use frame flex for the punch ins etc so that all that will translate to the online relinking. It's been a while for me and Red material and I haven't done much with Frame Flex other than some rotational flipping. I asked the AE and he confirmed he did the transcodes without baking in frame flex and that the Raster Size, or whatever the correct column name is, reflects the 5K raster size on the 5K clips. We haven't transcoded the 6K material yet but we plan on the same approach with it adding the rotation to flip the upside down material but not baking it in. Is this the correct approach to insure that the frame flex effects will properly translate when we link back to the original red material ama linked? I seem to recall there was a way that could confuse the frame flex scaling parameters if the transcodes lost track of the original raster size. I think that was what happened if you baked in the frame flex but I'm not sure. Can someone clarify the Frame Flex workflow with these oversized rasters?
Also can anyone explain to me why they shot 4096x2155 and not 4096x2160? Does this have something to do with the actual Red Camera Sensor size. I haven't bothered to check yet to see if Red is even an approved camera for Netflix. I know Arri's Alexa isn't and that is strictly based on the sensor pixel count. More will be revealed.
Assuming everything will link up with the proper Frame Flex postiioning I plan to then transcode the sequence to DNxHRHQX like I have on other projects. Given I will be transcoding and not consolidating is it at this point that I should bake in the Frame Flex. I don't think there is a way to transcode and maintain the original raster sizes for the oversized shots hence the need to bake things in. I don't want to consolidate staying in the Red Raw as that sequence would more than likely be a nightmare to playback and work with. Is the transcode Frame Flex bake in the best approach?
John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net
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Posted by: John Moore <bigfish@pacbell.net>
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