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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 :)

Any workflow from FCP TO REDCINE VIA XML

Yep.. Crimson works great! crimson is an easy to use intermediate. Use fcp to cut low-res proxies and crimson and redcine to convert your edit into whatever you want.
 
Watch the video on Ian's site about Crimson, You'll see how easy it is,
 
Meh,

It's not that easy ;) I've noticed several customers having problems with Crimson when they are using the FCP log and transfer function. Use compressor to transcode your media to prores before you import into FCP instead (Redrushes will do it also).

Otherwise thanks kids.

IBloom
 
ibloom said:
Meh,

It's not that easy ;) I've noticed several customers having problems with Crimson when they are using the FCP log and transfer function. Use compressor to transcode your media to prores before you import into FCP instead (Redrushes will do it also).

Otherwise thanks kids.

IBloom
Click to expand...

This is my fear - transferring all to prores. I currently have 10TB of footage (backed up to another 10TB). Once project is done, I'm looking at about 14TB+ of footage/working drives. To have to convert this all to prores first before I can start off-lining is a time-consuming, drive-consuming, soul-consuming pain in the ass. I really have been hoping proxies (or actual r3d files) would be a smooth process by the time I go into full post (in about 3 weeks).

Where is that magical one-press button to make this whole post-flow a dream?
 
planetearth said:
This is my fear - transferring all to prores. I currently have 10TB of footage (backed up to another 10TB). Once project is done, I'm looking at about 14TB+ of footage/working drives. To have to convert this all to prores first before I can start off-lining is a time-consuming, drive-consuming, soul-consuming pain in the ass. I really have been hoping proxies (or actual r3d files) would be a smooth process by the time I go into full post (in about 3 weeks).

Where is that magical one-press button to make this whole post-flow a dream?
Click to expand...

I'm preparing for a feature film project that is going to be around 10TB, too.
I will have two over 10TB storage, keep one for the backup, then when I'm copying, I'm planning to convert to Cineform, hopefully 2k 4:4:4 or raw Cineform (for online) and Cineform Express for offline editing. Hoping the two formats sum up below the total storage size. Otherwise, another option is to edit with small proxies (using MXO's digital cinema out for a monitor) then use Crimson, then conform in REDCINE and export to Cineform.

I did experienced L&T timecode shift and I had to reconstruct the timeline with original proxies after hard work of editing with L&T'd clips. I guess that is the similar problem I'm having with using markers for editing?
 
ibloom said:
Meh,

It's not that easy ;) I've noticed several customers having problems with Crimson when they are using the FCP log and transfer function. Use compressor to transcode your media to prores before you import into FCP instead (Redrushes will do it also).

Otherwise thanks kids.

IBloom
Click to expand...

I am just trying crimson. Seems easy, but I am sure I will sweat a lot.
Why do you prefer to transcode media instead of using the M Quicktime reference file ?
Seems to work well, but I had no sucess in re-importing media in FCP at this moment.
 
radamo said:
I am just trying crimson. Seems easy, but I am sure
Why do you prefer to transcode media instead of using the M Quicktime reference file ?
Click to expand...

Becuase with the proxies you can not get full editing functionality out of the system, everything is RAM driven and multiple layers, effects, multiclips, opacity changes (really anything that would require a render) just debilitates the system, so if you're off-lining a single camera documentary, maybe _M proxies are ok. A 3 camera music video on the other hand...
 
The proxies are quicktime "reference files", which means they are compressed lookalikes of what is recorded in the real R3Dfiles.
Why would anyone use the proxies for your online edit when you are shooting RAW? You will lose your complete dynamic range, color info etc etc etc... Use the proxies only for offline cutting in FCP, then use stuff like crimson and redcine to go to dpx or prores or whatever... Of course this will require rendering time, but everybody has more time than money right, and boy what a difference in your end result !!
 
radamo said:
I am just trying crimson. Seems easy, but I am sure I will sweat a lot.
Why do you prefer to transcode media instead of using the M Quicktime reference file ?
Seems to work well, but I had no sucess in re-importing media in FCP at this moment.
Click to expand...

It doesn't matter to Crimson, it can roundtrip either type of file. I just use pro-res transcodes because they are smaller, more stable and more portable. I'd never hand an editor a drive full of Redcode.

Ian
 
ibloom said:
It doesn't matter to Crimson, it can roundtrip either type of file. I just use pro-res transcodes because they are smaller, more stable and more portable. I'd never hand an editor a drive full of Redcode.

Ian
Click to expand...

Really? Then how would the QT Ref. files work? Don't get me wrong, if the DP, DIT, shooter, etc. would like to transcode everything for me to cut the flick, then by all means have at it. But considering I'm the one that has to deal w/the workflow, the R3D files are a must.
 
Ian. Not sure if you have come across this before. When I transcode proxies (H,M,P) from 4K 16x9 25fps footage through compressor, I get a band of green or blue on the right side of the clip about 1/3 of the clip width. The proxies from 3K and 2K 16x9 25fps transcode correctly. If I use RR, RA or RC then the resultant QT's are fine. Any help as this is a much quicker solution than the RR route for my offline files
 
Really? Then how would the QT Ref. files work? Don't get me wrong, if the DP, DIT, shooter, etc. would like to transcode everything for me to cut the flick, then by all means have at it. But considering I'm the one that has to deal w/the workflow, the R3D files are a must.
Click to expand...

I'm in the same situation as you right now and I know it can suck at times. But after months of working in post on this project (with H proxies), the next time around I think I rather set time aside to batch render ProRes offlines with Red Rushes first. When an editor starts stacking effects, keyframes, etc. onto a bunch of clips, the project becomes a complete mess to deal with. You're constantly rendering to get rid of the orange bar for acceptable playback for the director that's always breathing over your shoulder, not to mention it eats up a TON of disk space and becomes ungodly slow as the project file gets bigger.
 
+1 for Crimson. It was (and still is) for a job that we are just finishing up now.
The workflow was a bit tricky to begin with, but once I paid attention to the video on Ian's site, I was able to get around the bits I was getting stuck on.

Our workflow was to use RedRushes to create QuickTime ProRes proxies of everything, then cut it all from there, then using Crimson & RedCine to conform our finished projects.

A big thanks Ian for such a great product. It really was a life saver.

Cheers,

Alister
 
projectsplat said:
+1 for Crimson. It was (and still is) for a job that we are just finishing up now.
The workflow was a bit tricky to begin with, but once I paid attention to the video on Ian's site, I was able to get around the bits I was getting stuck on.

Our workflow was to use RedRushes to create QuickTime ProRes proxies of everything, then cut it all from there, then using Crimson & RedCine to conform our finished projects.

A big thanks Ian for such a great product. It really was a life saver.

Cheers,

Alister
Click to expand...

I appreciate it. Hope to make it better soon:blink:

IBloom
 
dj_redd said:
Really? Then how would the QT Ref. files work? Don't get me wrong, if the DP, DIT, shooter, etc. would like to transcode everything for me to cut the flick, then by all means have at it. But considering I'm the one that has to deal w/the workflow, the R3D files are a must.
Click to expand...

For the red savvy it's great to have RAW. For the Red Clueless good grief. My goal is to get them cutting as soon as possible.

IBloom
 
Hu I'm trying to load up a sequence using crimson. I'm only trying the demo version. I can load the original xml which gives me the first seven shots but when i try and load the edited xml file it comes up as failed to load construct. is this because crimson is the demo version?

thanks

Peter
 
Hi Ian, I'm trying to load up a sequence using crimson. just watched your demo film excellent. I'm only trying the demo version. I can load the original xml which gives me the first seven shots but when i try and load the edited xml file it comes up as failed to load construct. is this because crimson is the demo version? i'm trying to work out the best way to online and just wanted to make sure I'm not doing anything wrong. I'm following your demo film so i assume its because its the demo version.

thanks

Peter
London UK
 
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