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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 :)

RELEASED: RED Final Cut Studio 2 Installer

Just in case anyone is jumping in now, I will recap a bit from my understand and brief experimenting I am doing now. FCP long and transfer utility (think P2 work flow) has new native options that allow you to ingest (not transcode) the RED media by basically wrapping the R3ds into quicktime format so its now native in FCP & color.

To quote from the FCP RED whitepaper "The resulting media file appears as any other quicktime file in the Finder, but provides access to the original RAW camera data for specifically compatible applications."

It ingest much faster and I am sure that we will see many improvements on this now thats actually here and actually a part of the Apple agenda! haha...I know its always been a part and Ted if your listening...thanks again, Craig and team. I will be testing some things out here and will follow up as so we can iron out the kinks. I am sure next generation Mac Pro (1st quarter 09) will be taking more advantage of the processors and perhaps be real time? :)
 
If I have the time later tonight, I'll make a quickie video for you! No promises!:w00t:
Click to expand...
Hey thanks Richard! I would very much appreciate it! :biggrin: Very excited about this development from RED
 
Ohhh been waiting for that one!!!
 
A re-framing issue for those who have tried...

When "Send to Color" is chosen, if you want to reframe (inclusive rotation), can you keyframe and zoom in from the 4k source, or will it start off from 2k?

One of the nice things with Scratch is that you actually can use the whole 4k for those operations.
 
So you must compress everything to pro res using log & transfer and then edit? Is this correct? I'm still trying to figure out how to get the best out of an R3D file.

I guess a quick youtube video would help better to understand.
 
So you must compress everything to pro res using log & transfer and then edit? Is this correct? I'm still trying to figure out how to get the best out of an R3D file.
Click to expand...

No you haven't understood

ust in case anyone is jumping in now, I will recap a bit from my understand and brief experimenting I am doing now. FCP long and transfer utility (think P2 work flow) has new native options that allow you to ingest (not transcode) the RED media by basically wrapping the R3ds into quicktime format so its now native in FCP & color.

To quote from the FCP RED whitepaper "The resulting media file appears as any other quicktime file in the Finder, but provides access to the original RAW camera data for specifically compatible applications."
Click to expand...
 
Gunleik Groven said:
When "Send to Color" is chosen, if you want to reframe (inclusive rotation), can you keyframe and zoom in from the 4k source, or will it start off from 2k?
Click to expand...

It appears to start off from 2K... :waaa:
 
Hey Trevor, I am not sure what setting I might be doing wrong but my RT menu does not display any RT unlimited option, all its showing is "full quality" or "Use playback". Any clue of what setting I maybe missing?
 
Trevor Meier said:
Creating offline ProRes files (for ex. in RedRushes) is NOT COMPATIBLE with this online workflow! The reel name format is different between the REDCODE L&T plugin and RedRushes.

As well, batching via RedRushes, importing to FCP, media managing and attempting to Batch Capture brings up the Log & Capture window, not the Log & Transfer window... so Final Cut has no idea that you're trying to reconnect to a file-based camera mag.
Click to expand...

What you can do is is import all .r3d files through LOG & TRANSFER. Then select all the offline ProRes files on the time line, right click and select reconnect media. Then, when you reconnect the media point it the new files generated from the LOG & TRANSFER process. Then send it to COLOR and enjoy!
 
Richard Darge said:
Hey guys,

What if we have a project already cut on FCP using downconverted R3Ds? Any idea how to relink to the new workflow and CC in color with my timeline?
Click to expand...

I'm at the same situation, have you worked it out?

Here I don't have the footage, but I was trying the "native" log and transfer with Red Relay footage and Final Cut shuts down when I try to open it.
 
I just did exactly that wki03. See my above post. I'm grading a project in COLOR with RAW R3D files that was cut using ProRes files from REDRUSHES.
 
I'll try, I edited with proxy files, but I think it will work anyway.

Thanks a lot.


I'm still wondering why I can't open the proxy files from the .r3d I downloaded from Red Relay and why does Final Cut shut down when I try to open the folders.
 
still playing around with native files in FCP.. they look a million times better than the H proxies. WOW - A little slower in performance but the quality is amazing. If you edit by scrubbing on your timeline, you can still get by pretty fast. Sending to color is a breeze. Being able to use all those tools in color really really opens things up now. I can lift up my black levels in the Primary Red Room, then crush them back down in the Primary Out room. Stuff I could never do with Redcine half-baked CC sessions. It's nice not having to jump through hurdles anymore. Red! You're keeping me up all night!
 
Try remaking the QT Wrappers using RED RUSHES. That's always solved my proxy file problems.
 
Can someone tell me if the QT wrappers show me the file on my FC timeline in Rec709 or Redspace? Or should I assume that the term "native" means that it will take it's lead from the original metadata?

Basically: I shoot in Redspace. If I use the log & transfer for either transcoding into prores or creating QT wrappers what colour space and gamma setting is applied to the footage I put into the bin and then timeline? I need to know if what is in my timeline is an accurate representation of my r3d file.

I ask because proxies look dark in a quicktime player, slightly lighter when in FC and then r3ds look totally different in RC or RA.

(Still thinking the Adobe workflow is going to be smoother because they have no qualms about what kind of file I drop into the timeline...like, shock horror, an r3d)
 
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