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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 :)

Log and Transfer Plugin available for download now...

P

pablano

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If anyone gets a chance to use this in the next couple days please post what you think about it. This is an awesome new feature.
 
The transfers lock up and skip out when I try to play another clip while transcoding... So that means no logging while compressing... log them all then batch them I guess...

It will not import 4k 16:9 24fps footage, It tries but fails... at least FCP doesn't crash on me.

I wonder if its just taking the _H proxy into FCP and loading it into the transfer window and giving you only two options Pro Res(HQ) or Prores!? ... which would be lame... I guess it would be okay for lower budget shows that are sticking to 1080 and saying 'it just looks good enough'. I dont think youll be getting the same quality when laying off the HDCAMSR, Pro res is near Lossless, but not as good as uncompressed 1080 or 2k, or DPX...

But If it will work hand in hand with Crimson then its a step forward, you can online whatever you want, and log your shots easier upon offline(prores) ingest.
 
Hi everyone! First post after much lurking - interesting times around here.

Well, I was hoping there would be at least one workflow announcement around NAB, and had given up hope until I noticed this. It looks to me like this is the first piece of the puzzle sorted for a better RED workflow, and it's extremely welcome, especially here in 1080 land.

For context, I am using a 2008 Mac Pro, Quad 3.0Mhz, with external array etc. I have run ALL updates prior to using the plugin, including QT 7.4.5 and the ProApps update.

My experience is the opposite of the previous poster, however I am using 4K 2:1 files, so I would imagine that's the difference.

1) I can review other clips whilst importing. I would imagine there would be a minor drop in import speed if you were doing this continuously.

2) 1 min of a section of a longer clip (FINALLY, what a killer advantage to easily mark ins and outs in FCP prior to ingest) took just under 3 mins to ingest. Not too bad, not super-speedy either for a half size file based on a proxy.

3) Previous looks I had generated in REDALERT were available in the settings drop-down prior to import. Selecting a setting worked well, but applies globally across all your clips in the bin. Nice feature.

That's all for now - wish I had had this a couple of weeks ago before I started a big project shot 4K 2:1 - as it was destined for DVD and the web, this would have been a brilliant and easy solution, and it has been perfectly stable for me so far.

As a step toward a more integrated and supported Crimson-type finishing workflow it's perfect.

Ben
 
x86box said:
The transfers lock up and skip out when I try to play another clip while transcoding... So that means no logging while compressing... log them all then batch them I guess...

It will not import 4k 16:9 24fps footage, It tries but fails... at least FCP doesn't crash on me.

I wonder if its just taking the _H proxy into FCP and loading it into the transfer window and giving you only two options Pro Res(HQ) or Prores!? ... which would be lame... I guess it would be okay for lower budget shows that are sticking to 1080 and saying 'it just looks good enough'. I dont think youll be getting the same quality when laying off the HDCAMSR, Pro res is near Lossless, but not as good as uncompressed 1080 or 2k, or DPX...

But If it will work hand in hand with Crimson then its a step forward, you can online whatever you want, and log your shots easier upon offline(prores) ingest.
Click to expand...


Not using the _H proxy from the camera. 16:9 is actually not an L&T issue. It's related to something else.
 
Taylor

Have you installed all the current updates, including the ProApps update that shows up after the QT update (so you need to run the updater twice)? If you still have a problem try repairing permissions in disk utility.
 
Try installing "Final Cut Studio 2 REDCODE Plugin" first

Try installing "Final Cut Studio 2 REDCODE Plugin" first

This happened to me once, too. Installing the "Final Cut Studio 2 REDCODE Plugin" first fixed it.
 
Good point. Should have mentioned that!
 
Thats what I was expecting, that they were from the proxies, hence the 16:9 not working... That makes perfect sense...

I have plenty of 4k 2:1 that works great, I'm using Basically a 3.0ghz Dual Imac, (Hackintosh) I cannot update right now because I'm in the middle of a project. So I tried it anyway, I installed the plugin with Leopard at 10.5.1, FCP at 6.0.2 and Quicktime at 7.3.1, Like I said it does everything intended to do except kills the transfer when I try to log other clips during the transcode. But thats related to system Speed I believe
 
x86box said:
Thats what I was expecting, that they were from the proxies, hence the 16:9 not working... That makes perfect sense...

I have plenty of 4k 2:1 that works great, I'm using Basically a 3.0ghz Dual Imac, (Hackintosh) I cannot update right now because I'm in the middle of a project. So I tried it anyway, I installed the plugin with Leopard at 10.5.1, FCP at 6.0.2 and Quicktime at 7.3.1, Like I said it does everything intended to do except kills the transfer when I try to log other clips during the transcode. But thats related to system Speed I believe
Click to expand...

It may well be related to you not having the current versions of anything on your system - but I understand auto updates are a little hit or miss on a Hackintosh - correct me if I'm wrong. I doubt system speed would be the cause for transcode stopping completely, but who knows?
 
x86box said:
Thats what I was expecting, that they were from the proxies, hence the 16:9 not working... That makes perfect sense...

I have plenty of 4k 2:1 that works great, I'm using Basically a 3.0ghz Dual Imac, (Hackintosh) I cannot update right now because I'm in the middle of a project. So I tried it anyway, I installed the plugin with Leopard at 10.5.1, FCP at 6.0.2 and Quicktime at 7.3.1, Like I said it does everything intended to do except kills the transfer when I try to log other clips during the transcode. But thats related to system Speed I believe
Click to expand...

Makes perfect sense but it's incorrect. You can delete the qt proxies off the disc, the L&T will still function. Those proxies are optionally created by the camera and can be turned off. 16:9 is not working for other reasons.
 
Speculation, but L&T must generate quicktime proxies in order to transcode them to ProRes - also explaining is why it does this at half the size. These Redcode proxies are obviously not saved, but would be a part of the conversion process nonetheless.
 
beneditor said:
Speculation, but L&T must generate quicktime proxies in order to transcode them to ProRes - also explaining is why it does this at half the size.
Click to expand...

creation of qt proxies has nothing to do with the half size ingest.
 
reinhart said:
creation of qt proxies has nothing to do with the half size ingest.
Click to expand...

As you have a better understanding of this, I would be grateful if you could explain it.

I understand that half-size proxies are the highest quality available (the full size ones being just scaled up from the H proxies). If it's not to do with this, why is 2K footage only imported at half size, rather than the more useful 2K full size?

It would be great if you could share your knowledge of the process.
 
beneditor said:
As you have a better understanding of this, I would be grateful if you could explain it.

I understand that half-size proxies are the highest quality available (the full size ones being just scaled up from the H proxies). If it's not to do with this, why is 2K footage only imported at half size, rather than the more useful 2K full size?

It would be great if you could share your knowledge of the process.
Click to expand...


Resolution is a function of the QT codec, not the L&T plugin. As of now, the QT codec does not support 1:1 resolution so all L&T transcoding will be 2:1.
4K->2K, 3K->1.5K, 2K->1K. When the QT codec is updated (soon) the L&T
will be updated to take advantage. It will either do 1:1 always or perhaps provide a tools menu to select the resolution.
 
why would I L&T r3d files, while RED's concept is about RAW data, just importing and transcoding to proress, you loose this, so why is this feature usefull at all. if that is because of the offline editing, then whats wrong with proxies, you can edit in proxies for offline, why would you loose time converting to prores.

??? :*)
 
Levan Bakhia said:
why would I L&T r3d files, while RED's concept is about RAW data, just importing and transcoding to proress, you loose this, so why is this feature usefull at all. if that is because of the offline editing, then whats wrong with proxies, you can edit in proxies for offline, why would you loose time converting to prores.

??? :*)
Click to expand...

its more fluid to edit in prores
 
x86box said:
The transfers lock up and skip out when I try to play another clip while transcoding... So that means no logging while compressing... log them all then batch them I guess...

It will not import 4k 16:9 24fps footage, It tries but fails... at least FCP doesn't crash on me.

I wonder if its just taking the _H proxy into FCP and loading it into the transfer window and giving you only two options Pro Res(HQ) or Prores!? ... which would be lame... I guess it would be okay for lower budget shows that are sticking to 1080 and saying 'it just looks good enough'. I dont think youll be getting the same quality when laying off the HDCAMSR, Pro res is near Lossless, but not as good as uncompressed 1080 or 2k, or DPX...

But If it will work hand in hand with Crimson then its a step forward, you can online whatever you want, and log your shots easier upon offline(prores) ingest.
Click to expand...

Hello,

I have a Hackintosh and I want to add a Kona 3 card. Are you running this card?

Many thanks,
Miro
 
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