Hasta La Motion!

We’re gearing up for a comping project. The job was shot on the Red camera. We’ve been supplied with 10-bit Log DPX files and asked to deliver our comps as the same. I’ve got a few questions about how we should set up our projects and interpret the plates:

-I’m assuming it would be best to work in linear 32-bit space. Is there a workspace preset that works best with linearised Red Log files?

-Does the workspace have any impact on the comps, other than being 32-bit? Does it matter which workspace we use, or should we just go with the one that looks best?

-With the footage we’d be applying a Cineon log to lin effect to our incoming material and a lin to log conversion to our output comps. Can these settings vary with the Red? Or is there a standard here?

-What is the difference between applying the Cineon log to lin and applying the Cineon settings in the interpret footage dialog?

I think that’s it. But I’d welcome advice from anyone who’s actually done this. There doesn’t seem to be loads of info online.

Cheers,

W