Status update & request for feedback

[Obin Olson]

Not looking for the 'keys to the universe' here - what I am looking for are 'formats' free of low quality scaling and long render times done inside the premiere interface.

Presets are wonderful, but there's nothing like knowing how to 'roll your own'...


If you're confused about scaling, here's a simple formula: target width / source width = scale factor

In your quoted case the simple calculation is: 1280 / 2048 = .625
Just scale your source material by .625 and you'll be at 720p.

It's just as easy with 1080p: 1980 / 2048 = .9668
Multiply 2048 by .9668 and the keys to the 1080p universe are yours.



cheers,

John T.

[Obin Olson]

let red debayer and scale in realtime into a standard format without dropping frames and I think we will have far less problems with things like going out to a standards based display like a 720p plasma etc for preview, having premiere do this work on top of all the other things its already doing in realtime seems like a bad idea for a smooth workflow

[Rob Lohman]

Thanks for the feedback guys.

Mike: understood. We aren't at that level yet. As indicated we're working on much deeper integration. This is just the first step!

[Obin Olson]

first steps are fantastic, I would be very very careful how deep you go, I would hate to loose stability and user interface speed that we have now in premiere!

a "render codec" would be very nice though!

[Jason Rivera]

Another workflow question. I wonder why it is necessary to select a fixed "scale-down" factor for each RED clip resolution.

I am sure you have analyzed the Cineform approach which is much more straight forward in this regard: It always leaves the original clip resolution in place and only adjusts the de-bayer resolution based on the CPU load in realtime. And when you stop the playback, it decodes the frame with full resolution.

This approach does not require to manually change any values and restart the application in order to perform the final output render in full resolution. And still provides 4K quality for the current frame to apply color correction & effects.

I guess this is a limitation of the Pr CS3 API? And the reason Cineform replaces the complete Pr CS3 rendering engine?

A comment on this would be nice :)

Thanks again!

I would love input on the pros and cons of this process as well and whether or not it's do-able. This way you don't have to constantly change the "working resolution" to full res just to preview your CC tweaks and effects as Mike stated...similar to what Ae does, i would guess.

[Steve Freebairn]

I think that you should be able to import a master folder that contains all the red folders and have it import 1 clip per R3D, so that if you have 12 R3D files for 1 clip, then it will have 12 files for that one clip, that would give us the ability to get rid of several GB chunks that we don't want. It also lets us use the first part of a corrupted clip if they recorded long enough. Later you can work on having it stitch the clips together on a bulk import.

I think that even if you get the stitching to work, that you should make it so that you can import just 1 part of an R3D file if there are multiple parts and the last file is corrupt.

I'm also very much for a widget/gadget that lets you change what proxy resolutions you are using, the suggestion to use Adobe Air is a great one, then it's cross platform immediately.

[John Tissavary]

Not looking for the 'keys to the universe' here - what I am looking for are 'formats' free of low quality scaling and long render times done inside the premiere interface.

The whole idea of the Premiere workflow is that it is resolution independent...
But I doubt render times are going to be any better there than with existing software. At some point the debayer must be done at a resolution that jibes with the desired quality of the finished product.

As to render times and scaling quality? Seems to me that's more up to Adobe than anyone else. Their software is scaling & rendering, so I'm not sure how you see this as a Red development responsibility.



cheers,

JT

[Obin Olson]

Red needs to provide realtime output in standards formats like 720 and 1080 and 2k etc... all I am saying...

[Shane Betts]

Theoretically, one should be able to set globals in PP to, say, 1/4 and Globals in AE to full and work that way all day, so long as you remember to reset on restarts. So you have edit speed in PP and resolution in AE.

Or would that make the apps run flaky?

You could even make an Automator script to open the apps and reset globals and use that as an alias to the apps themselves..

[Shane Betts]

Also, is it possible to tell the camera not to make proxies? When your workflow is RAW end to end, the proxies aren't needed and so batch importing folders would be one step simpler.