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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Using Premiere with Redcine - THANKS ADOBE!

Stefan Scherperel

Stefan Scherperel

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I noticed in the Premiere 5.02 update thread there seems to be an overabundance of joy for Red rocket support, and it seems to have overshadowed what I feel is the coolest update yet, working with Red Cine and Premiere together.
Now running them both at the same time, I can take a clip in red cine, grade it to my hearts delight then updated the RMD file in premiere and voila, there is my grade from Red cine living right in my premiere timeline.
My hats off to you adobe and Red. This is what working with RAW files is all about.
 
Yes the reload from RMD feature is really really nice. I've already switched... the thing now is to convince my team to switch... I'm just a DP but I don't want to do another unnecessary proxy transcode or deal with questions about switching white balance, brightness, etc.
 
Stefan Scherperel said:
I noticed in the Premiere 5.02 update thread there seems to be an overabundance of joy for Red rocket support, and it seems to have overshadowed what I feel is the coolest update yet, working with Red Cine and Premiere together.
Now running them both at the same time, I can take a clip in red cine, grade it to my hearts delight then updated the RMD file in premiere and voila, there is my grade from Red cine living right in my premiere timeline.
My hats off to you adobe and Red. This is what working with RAW files is all about.
Click to expand...

Our pleasure... We are constantly working on more stuff... Maybe I will send a screen shot teaser of some future work...

Cheers

Dave
 
Anson,

No need to make a switch of OS platforms just a switch of NLE's. I think Johnny was referring to NLE's when he said the Apple ship. It wouldn't be prudent to abandon the Mac OS ship when big software like Davinci Resolve is coming to Mac. We all need better towers though but that's another issue.
 
Stefan Scherperel said:
I noticed in the Premiere 5.02 update thread there seems to be an overabundance of joy for Red rocket support, and it seems to have overshadowed what I feel is the coolest update yet, working with Red Cine and Premiere together.
Now running them both at the same time, I can take a clip in red cine, grade it to my hearts delight then updated the RMD file in premiere and voila, there is my grade from Red cine living right in my premiere timeline.
My hats off to you adobe and Red. This is what working with RAW files is all about.
Click to expand...

that was my very same feeling in that thread!!

Thanks Adobe, especially David as he the most listner here..
 
Oh sweet validation for those of us who were onboard that ship from the distant start, how wonderful is thy taste! :-)
 
David McGavran said:
Our pleasure... We are constantly working on more stuff... Maybe I will send a screen shot teaser of some future work...

Cheers

Dave
Click to expand...

David

Feature request:)

User adjustable footage relink by forcing PP only to look for the first 6 to 8 characters of a clip name.

I just had an issue, were I imported a EDL from AVID into PP. All RED clips were not fully named, the last "_001" of the name was missing (Avid limitation). I could relink them manually, but that would have been a lot of work with 1000+ clips. So I ended up opening the EDL in a text editor and had a script add the remaining "_001" to the clip names. PP could then relink automatically since the clips now showed the full RED name.

Thanks
 
BTW, we also now read timecode from DPX sequences created by RED cine... Do any of you use that? Also do people use 16 bit DPX files? Samples?

Cheers

Dave
 
Awesome awesome stuff!!!! But...

Feature request:

I would like to assign a different grade (source settings) to clips from the timeline, not just the subclip name or clip name from the project window. Often I must search through my project files to find the original subclip, and often also I would like to do an iris pull (so cross-fade between one version fo a clip that has Flut at say 0 and another that has Flut at .5) or a white balance animated pull. This would also be solved if I coudl keyframe values, at least for some things, in the source settings panel, again, from the timeline.

Maybe source settings could become an effect, called something like "Shift Source Settings", with initial values as found in the clip, so initially, applying the effect changes nothing) , but then changeable and animateable via the effect window?.

I would say still noticeably missing from source settings is a white-balance picker. This would be extremely useful, as would curves.
 
Sounds like it´s time to start migrating back to where I started!

Started out with premiere v4.1 moved to FCP when Adobe jumped Apples ship, now the tables have turned it seems. With Apple I have been feeling more and more like an unwanted orphan in the past, and no improvement is in sight.
 
Anson Fogel said:
Correct me if I am wrong, but I do not need to abandon apple to move more towards premier/adobe and away from FCP
Click to expand...

You don't need to abandon FCP... I still use FCP all the time, but for my own projects and just about anything RED these days, Adobe is working great. The 5.0.2 update is great with the Rocket, Rocket support in AE too. RMD support so we can pull in looks or our primary CC from RC-X.

I believe if you download the trial version it will let you update it to 5.0.2 and test it out. It's easy to learn coming from FCP.
 
Premiere Pro plus DVinci with RR.
 
Brian D. Goff said:
I just had an issue, were I imported a EDL from AVID into PP. All RED clips were not fully named, the last "_001" of the name was missing (Avid limitation).
Click to expand...

The sources are inserted by REDCINE X (if used) so there is no limit on the Avid side. Media Composer is supporting 32 character templates for other file based formats already. During initial implementation, it was up to the host system to find offsets within the file itself based on the timecode and information within the SDK. That is why a spanned file appears to be one clip despite it having two or more at the directory level.

If possible, ask whomever sent you the EDL to look at the TAPE and/or SOURCE FILE column to see what the file name there is listed as. Avid EDLs are used everyday on many other systems and this issue has not come up.

Michael
 
Sorry but Im new to doing my own work on my Red files. Right now I do a RC-X DPX out and then in to AFX for my final to Animation or 442 HQ or what ever the out. Can someone walk me through this RC-X one light and then in to PP? That sounds like I can save a step and creating very heavy files one after the other.
Thanks
Russ
Or if its kind of a lengthy process please PM me the walk through.
 
It's so easy with 5.0.2:
– Do your first grade in RC-X
– Save the grade as .RDM
– Load it in PPro or AE
– Work with the native footage to your hearts delight, save space and time

That's all, no mysteries.
 
Thanks Uli, Ill be giving it a try in about 5 min. reason for edit. I knew when you said it was so easy I was in trouble.


5 min later. I tried and cant figure out how to save as a .RDM. Is this when you start your export or something Im missing in the control bar at the top? With one of the pulldowns.
Sorry, this is my first rodeo with Redcine X. I have dabbled but now Im totally in the pool wet and trying to swim. Just trying to figure out the best workflow for my small uses of B-roll and time lapse for a show Im working on.

Thank you again for all.
Russ
 
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