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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 :)

Clipfinder 2.1 final version released

skipdivils,

I must admit I have no experience with Avid whatsoever. I've done some googling and it seems you may need an ALE file.
Generating ALE files is supported in REDline, so I should be able to add this in the next few days.
Thanks for pointing this out to me.
Cheers,

Hans
 
Version 2.1.1 generates ALE

Version 2.1.1 generates ALE

I have just updated Clipfinder to version 2.1.1.
It is available from my website at www.daun.ch/software

This version automatically generates an ALE file when you render to DNxHD.
The name of the ALE file is the same as the name of the output folder.
You do of course need to have the latest version (1.10) of the Avid codec installed. It is freely available from their website (http://www.avid.com/red/)

This version also fixes a small problem where the Loupe would not update properly when you re-generated reference files in REDAlert.

Cheers,
Hans
 
Version 2.1.2 adds dynamic render subdirectories

Version 2.1.2 adds dynamic render subdirectories

I have just released version 2.1.2 of Clipfinder.
It is available from www.daun.ch/software

This version fixes a problem where the "location" field of the TC-burn in settings would not accept a zero value.

It also introduces dynamic grouping of rendered clips into subdirectories based on the first word of the comment field.
If, for instance, you have multiple scenes with multiple takes each, you can now group the takes for each scene into a subfolder by entering the scene name as the first word in the comment field (see attached images for an example).

Cheers,
Hans
 
you rock hans. i am going to download and begin testing this amazing piece of software as soon as i find the damn time.

a couple of questions:

1. does it support audio?
2. to get the audio into the AVID DNxHD files, do you need to do anything special? In Red Rushes, under 'Options' menu, there is an option to select 'AVID compatible audio'. Maybe someone from AVID can answer this one if they are reading....

Thanks again. Amazing looking tool. Now all we need is for slightly better color control in RedAlert to really take advantage of the RED.....
 
skipdivils,

Yes, audio is supported.
I cannot say if audio works for DNxHD output. There is no setting relating to audio (for Avid or otherwise) in REDline. I vaguely remember reading discussions here about Avid and audio; you may want to google for this or check MichaelP's posts.

Cheers,
Hans
 
Hey Skip,

This is what I want to use to output the project we spoke about today. They are using Avid as well, so great timing.

Hans, like many I have downloaded your app based on the screenshots and discussion here but haven't had much time to play with it! I've been talking about it though, hence skipdivils coming onboard.
 
This is a great software. Thank you so much Hans. Question for you - let's say I have a bunch of clips in Clipfinder set at M proxies, then I drag to FCP. In FCP is do my edit, then I want to batch replace all my M proxies to H proxies, could there be a way to batch replace all my proxies?

I have a ton of r3d footage that will take weeks to render to Prores and I'm trying to avoid it. Also, to xml out and go the crimson route, I have a lot of HVX200 and EX1 footage mixed in, so crimson won't work with that footage. Then there is all the DSLR raw timelapse files I have converted to Pjpeg - non of which can be read or colour corrected in Color, so bottom line, I need to stay in FCP, but the only thing workable in FCP are Prores or H proxies, but H proxies all need renders to play back throughout the off-line process. What a vicious circle.

I'm still figuring out clipfinder, but it seems on the cusp of fulfilling many needs (perhaps beyond what you originally intended it for). Can you think of any solutions for my current needs, or am I way off base in my expectations.

Also, when I import clips into Clipfinder from FCP XML, it's great that Clipfinder also reads other files that are not R3D, but for example, clips that are originated as raw stills from a dslr, converted to P-Jpeg timelapse movies and imported into FCP are now seen/labled as HDV files. Are all non-r3d files labled as hdv?

Really appreciate your help,
Dale
 
Dale,

I guess I could find a way to replace M proxies with H proxies.
The problem I see with this is that H proxies are obviously much larger (width/height) than M proxies. How would those larger clips fit into your sequences ? Do they need to be scaled ?
Is your RED footage in a separate sequence that can easily be scaled or did you scale each RED clip separately so it would match the dimensions of your other footage.
I'd need to know more about how you have structured your project in order to come up with a solution that works and can be realized quickly.

As for your second question: all non-RED clips are labeled as .MOV files, which is the generic extension for QuickTime movies (regardless of source, dimensions, codec, etc.).
For the conform operation, unless you put those files into the "Clip Directory", Clipfinder will not change the XML for these files, so there is no need to worry.

I'd be happy to help you if I can.
If you wish, you can PM me or email me at the address given in the Clipfinder Help Pages.

Cheers,
Hans
 
This app has changed how I work with Red footage lately. Between this and Crimson, I've got some decent workflows in place.

Being able to quickly open R3Ds in Red Alert via Clipfinder is great.
 
hgdaun said:
Dale,

I guess I could find a way to replace M proxies with H proxies.
The problem I see with this is that H proxies are obviously much larger (width/height) than M proxies. How would those larger clips fit into your sequences ? Do they need to be scaled ?
Is your RED footage in a separate sequence that can easily be scaled or did you scale each RED clip separately so it would match the dimensions of your other footage.
I'd need to know more about how you have structured your project in order to come up with a solution that works and can be realized quickly.

As for your second question: all non-RED clips are labeled as .MOV files, which is the generic extension for QuickTime movies (regardless of source, dimensions, codec, etc.).
For the conform operation, unless you put those files into the "Clip Directory", Clipfinder will not change the XML for these files, so there is no need to worry.

I'd be happy to help you if I can.
If you wish, you can PM me or email me at the address given in the Clipfinder Help Pages.

Cheers,
Hans
Click to expand...

Hi Hans,

Never thought of the scaling, but what if the M proxies were simply replaced with the H proxies in the same timeline, then just copy all the clips in that same timeline and paste them into a new timeline set for H proxies. Would that work?

The project has not yet been structured in any way, for I am trying to sort out my workflow before I go too far down the wrong path.

You say the non r3d files are all .MOV files, forgive me, the font was very small and for some reason on my screen it looks like HDV until I zoomed in.

Also, perhaps this has been answered before, but if you open a folder, the r3d's load up in clipfinder, then double click on a file which in turn opens in Red Alert, adjust the exposure and curves (perhaps even length of clip), can you then (when you drag your clips to FCP) drag the RSX (with adjusted colours) to FCP. Alternatively, if you quickrender out, is there a way to select the RSX (which applies both colour, curves and selected length)?

Am I pushing the envelope here?

Cheers,
Dale
 
Dale,

I'll answer your second question first, because that's an easy one.
When you have changed settings in REDAlert, you can press CMD-A, which will re-generate the reference files (proxies) for the clip. If you had previously imported the proxies into FCP, the changed settings will immediately affect the clips' look in FCP.
Not all settings are carried over to the reference files, though: curve settings, color space and gamma changes do not carry over. Nor do In/Out point settings, but I guesss you wouldn't really want REDAlert to screw up the In/Out settings you made in FCP.

I'll need to think some more about your workflow approach.
Can you easily keep the RED material on separate timelines from the rest of the footage or do you need to mix different types of material in the same timeline ?

Also, many people do their first renders with full debayer quality (which is very slow) and come away with the belief that rendering to ProRes will take too long. Since you presumably want to finish in HD, you could dramatically speed up your renders by selecting "1/2 res.(high)" debayer quality (and scale to 1920 x 1080). The quality difference will likely be minimal (except for material shot with shutter speeds slower than 25/s). In any case, it will easily be as good as HDV and EX1 material. You may of course know this, but I thought it worth mentioning.

You can get a rough estimate of your render times by loading all the material into clipfinder and going to the render page. The bottom of the page shows the total number of RED-clip frames. I get about 2 frames/sec on my quad-core with cheap disks with 1/2res(high). With a fast disk system you might be able to achieve twice that speed.

Cheers,
Hans
 
Hans-

First off I would like to thank you for this application. It is the best tool to use on set to watch clips, verify clips transferred, and even make dailies. I love the ability to send files directly to red alert, I love the drag and drop, and this is a great way for us to look through all our footage and find selects to render out. I love the watch folders and the auto render. You are a genius. I simply love it, and am thankful for your contribution.

With that said I have a few requests (sorry but that is the nature of this forum):

In the scale width and height I would love to have a pull down menu with popular formats like 1920x1080 720x486 etc. Also I would love to pick 100% of clip if I wanted to (or 50%) etc.

In the crop I would love to be able to do something similar like picking 4x3 crop so I could center cut my shots and render them to prorez to quickly dump to beta tape for the news channels (something I do frequently)

I would like an option to place the rendered file back in the same directory as the r3d file (although I am still toying with this, but I think this would make a second render easier)

And lastly the most complicated request of all would be to be able to render one time to quicktimes that I will rough cut, and when bring that xml back into clipfinder have it able to relink back to the r3d files and I can render final online versions. I know about the size challenge and I could just make my files 1920x1080 to begin with just with a 1/4 or 1/2 debayer then render the final shots with a full debayer. Now I own crimson and am very happy with it, but would rather render through redline (instead of redcine) as it is much faster, and I am happy to finish my color correction in color.

Now I can do the above request by editing with proxies, but that proved to be a headache in the past. It may be better with the updates, and people seem to be happy, but if I did this I would end up rendering files that were not the same size (1920x1080) and would not have the _H extension on them. I could rename, but I was looking for an easy way so my editors don't have to pull their hair out. I don't mind getting under the hood, but sometimes it complicates things too much when multiple people work on red footage.

Anyway, thank you very much for all of this, we are lucky to have this program for free in our arsenal, without any of my above requests. I even include it with clients footage when I give it to them so they can watch immediately.

mahalo
scott
 
I agree with Scott - simply amazing software and great suggestions.

There are a lot of very smart people at Red and on this forum - and Hans, you are up there at the top. I hope Red invites you in to their family and integrates your work with theirs.

Thank you for the information. It's most helpful. And yes, I well need all the mixed formats on the same timeline. Guess I can pull shots of other formats onto separate tracks.
 
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