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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 :)

Sneak peek, courtesy of Adobe

probably soon after Final Cut can write blu-ray
 
Mike Prevette said:
1) how does the debayer quality compare to REDCINE Redalert or the proxies?

2) Will we always have to re-import the footage when we change the R3D Global settings? that would be a pain for offline/online editing.
Click to expand...

looked to me like you had to set the global settings then restart the project, not reimport the footage, also since this is a RED plugin not adobe the debayer should be done with RED algorithms, so they should be identical...unless there is speed settings like cineform has...low quality for work...high quality for finishing
 
There could be a lot of reasons it was done on a laptop, I'd be surprised if they are trying to hide anything since they're giving us the plugin and we'd know their secret within a week or so. I'm sure that a higher end machine would give better performance. What's nice is, I know that I can do what they did, because my system is significantly faster than a mac book pro laptop!

I've used FCP and Premiere together on projects and had no problem sending things back and forth.
 
I am very impressed too,but

I have to say that even if we can work at 1/8 and render out at full res (no proxies edl etc....) , i think that a 1/2 res of 4K realtime playback in premiere is something that we really need...maybe not in After effects , but the timeline of premiere...just the cuts etc...

Try to figure out a editing room with the clients that want to see the ruff cut....you would show them at 1/8 res in fullscreen...????

Anyway it's a great start...
Now we need speed playback and a cheap color grading software that will support R3D natively...Like After Effect does with Premiere...What about Color finesse plugin for Premiere ...i mean does the erchitetture of Premiere allow to use R3D files with every Premiere Plug in or not....??

PS:does will premiere support any SDI card to playback out?I mean with R3D files...
Thanks

G
 
Gabriele Turchi said:
I am very impressed too,but

I have to say that even if we can work at 1/8 and render out at full res (no proxies edl etc....) , i think that a 1/2 res of 4K realtime playback in premiere is something that we really need...maybe not in After effects , but the timeline of premiere...just the cuts etc...

Try to figure out a editing room with the clients that want to see the ruff cut....you would show them at 1/8 res in fullscreen...????
Click to expand...

1/4 High in a 720 or 1080 project looks pretty good, IMHO. That's what we work on for realtime in SCRATCH, as we don't have a Skulltrail or Nehalem system yet.
 
Fredrik Harreschou said:
1/4 High in a 720 or 1080 project looks pretty good, IMHO. That's what we work on for realtime in SCRATCH, as we don't have a Skulltrail or Nehalem system yet.
Click to expand...

What do you mean in a 1080 project...?
Actually 1/4 of 4k 16/9 is just SD and not HD....(2304/4--->576)...and also i am not even sure that at the moment could even playback that in realtime...

PS: I thought that Scratch was GPU "dependent" ... i think have a Quadro FX 5600 is more important than have skulltrail...right?
G
 
Gabriele Turchi said:
What do you mean in a 1080 project...?
Actually 1/4 of 4k 16/9 is just SD and not HD....(2304/4--->576)...and also i am not even sure that at the moment could even playback that in realtime...

G
Click to expand...

In SCRATCH (like in REDCINE) you choose timeline (construct) size, in Premiere it would be the project size. This can be 720 or 1080, if you work with a broadcast HD monitor. Of course, if you monitor in SD, make a SD project. Then set Quality to 1/4 High and your material to Fit Width. Sure it's not mathematically HD, but its a pretty picture even so. And your color correction will look the same.

It will playback realtime on a octo-core.

Cheers,
Fred
 
Fredrik Harreschou said:
In SCRATCH (like in REDCINE) you choose timeline (construct) size, in Premiere it would be the project size. This can be 720 or 1080, if you work with a broadcast HD monitor. Of course, if you monitor in SD, make a SD project. Then set Quality to 1/4 High and your material to Fit Width. Sure it's not mathematically HD, but its a pretty picture even so. And your color correction will look the same.

It will playback realtime on a octo-core.

Cheers,
Fred
Click to expand...

Yes you right is like set a 1080 project at 1/4 res in redcine... which mean 576 (1/4 RAW 16/9) upscaled at 1080 lines to the monitor...

I am wondering why they showed that demo on a laptop instead of a 8 core system ....

G
 
Gabriele Turchi said:
... i think that a 1/2 res of 4K realtime playback in premiere is something that we really need...maybe not in After effects , but the timeline of premiere...just the cuts etc...Try to figure out a editing room with the clients that want to see the ruff cut....you would show them at 1/8 res in fullscreen...????
Click to expand...

Approximately 99% of network television programs, and at least 80% of features, are cut in standard definition, using 14:1 compressed Avid OMF files, and have been for some time now. They don't seem to have any problem working in that format, and for the most part, they don't feel they "need" HD at that point in the process. I don't know who your clients are, but I can almost guarantee that they're not any more demanding than executive producers of network television programs and directors of studio features.

Just thinking out loud here.
 
mmost said:
Approximately 99% of network television programs, and at least 80% of features, are cut in standard definition, using 14:1 compressed Avid OMF files, and have been for some time now. They don't seem to have any problem working in that format, and for the most part, they don't feel they "need" HD at that point in the process. I don't know who your clients are, but I can almost guarantee that they're not any more demanding than executive producers of network television programs and directors of studio features.

Just thinking out loud here.
Click to expand...

Absolutely true. At high end post houses in Oslo today, you pay more to finish a commercial at HD resolutions too. Most commercial jobs destined for broadcast are finished in PAL 16x9. 35mm is usually scanned 2K though, but that's just for grading. The grading suites output PAL frames as DPX to finish off in smoke/flame.

If you are going to deliver in SD, it's smart to monitor in SD. Easily forgotten with all these 4K files everywhere...

F
 
I will be interested in finding out if there are any limitations for the plug-ins.

They (Red,Adobe) have done an amazing job. If we had seen this type of progress from Apple, the workflow would not be as confusing today.

Bring it on!
 
Just a heads up, I use Pr an Ae all the time and I don't know of any of their plugins that you can't use on a clip (if you can import the clip in and the program recognizes it, then you can use whatever plugin you want that is supported by the app).

So, the best thing to do would be to look at the plugins you use and see if they are Pr and Ae compatible. If they are, then it will work with R3D footage.
 
Fredrik Harreschou said:
Absolutely true. At high end post houses in Oslo today, you pay more to finish a commercial at HD resolutions too. Most commercial jobs destined for broadcast are finished in PAL 16x9. 35mm is usually scanned 2K though, but that's just for grading. The grading suites output PAL frames as DPX to finish off in smoke/flame.

If you are going to deliver in SD, it's smart to monitor in SD. Easily forgotten with all these 4K files everywhere...

F
Click to expand...

Come on Guys...
What you saying is true , but things are changing...35mm scanned in 2k and than down res to SD for avid editing as always be done because there was not enough by the editing workstation...also HD tape was more expensive , the 50' plasma was not even real , the HD monitor was 50000 $...etc...

Now we have a 4k camera , the files are ready (i mean digital) to be edited in 2k and there is enough power too...
Why in the August 2008 we should set up an SD editing system?

Also not everybody here have the RED for Tv finishing ,also someone like also edit in a 50" plasma screen ,

Cineform is showing the possibility to edit 2K in realtime under premiere,

I am just saying that adobe should do the same with R3d (but it seems that Rd3 is more complex to decode )

Anyway i am sure they will do as much as they can , i am just saying that they should keep going to have that realtime playback at 1/2 res (actually HD should be Ok but as i have understood the RAW system works dividing by 2 every time ....)


I agree that it should be interesting if any plug in for premiere should work with R3D files (like color Finesse)or if they need to be updated for that

G
 
Completely awesome! Thanks to the Red Team and the folks at Adobe!!

BTW, does this resolution trick work with all footage (setting to 1/4 res then resetting to native before export)? I have had trouble scrubbing through 1080p PHOTOJPEG footage on my PP timeline lately.
 
Gabriele Turchi said:
Come on Guys...
What you saying is true , but things are changing...35mm scanned in 2k and than down res to SD for avid editing as always be done because there was not enough by the editing workstation...also HD tape was more expensive , the 50' plasma was not even real , the HD monitor was 50000 $...etc...

Now we have a 4k camera , the files are ready (i mean digital) to be edited in 2k and there is enough power too...
Why in the August 2008 we should set up an SD editing system?

Also not everybody here have the RED for Tv finishing ,also someone like also edit in a 50" plasma screen ,

Cineform is showing the possibility to edit 2K in realtime under premiere,

I am just saying that adobe should do the same with R3d (but it seems that Rd3 is more complex to decode )

Anyway i am sure they will do as much as they can , i am just saying that they should keep going to have that realtime playback at 1/2 res (actually HD should be Ok but as i have understood the RAW system works dividing by 2 every time ....)


I agree that it should be interesting if any plug in for premiere should work with R3D files (like color Finesse)or if they need to be updated for that

G
Click to expand...
You are right and I am right. ;) It's a lot easier to work with 2K projects if you do them alone. As soon as it grows into several artists and editors at the same time, the price goes up to have a decent workflow. Of course, with 4K at SD file sizes, it evens out in some ways.

Tom said:
BTW, does this resolution trick work with all footage (setting to 1/4 res then resetting to native before export)? I have had trouble scrubbing through 1080p PHOTOJPEG footage on my PP timeline lately.
Click to expand...
Unfortunately not. It's part of the plugin.

Fredrik
 
Tom said:
Completely awesome! Thanks to the Red Team and the folks at Adobe!!

BTW, does this resolution trick work with all footage (setting to 1/4 res then resetting to native before export)? I have had trouble scrubbing through 1080p PHOTOJPEG footage on my PP timeline lately.
Click to expand...

I'm sure you've done this, but it could be time to defrag your drive.
 
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