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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

Final Cut Studio 2 Installer

Final Cut Studio 2 Installer

Congratulations RED + Apple, this is a significant step forward!

We're testing the new workflow and it's working quite well. 2 things:

1) I'm seeing a modest gamma shift between FCP and COLOR on the round trip. The gamma of COLOR seems to be a bit lighter causing me to oversaturate and crush the blacks a bit too much. Also the color rendition in COLOR does not seem to be as accurate as RED ALERT running on the same machine. Anyone else seeing this?

I've tried to "eyeball" a display LUT, not helping much. Suggestions anyone?

2) FEATURE REQUEST: It would be awesome to have the "adjustment curve" that's in redcine and redalert on the RED tab of color.

Cheers,
JB
 
Proxy VS ReWrap Results

Proxy VS ReWrap Results

Okay, I did a quick test doing a proxy _H send to color vs. a L&T re-wrapped Native send to color. Here are the results. I did a change from 5600K to 5000K and added a contrast curve so that some grade was applied. I missed the contrast a bit on the second one, but they're close. Rendered QTs imported into AE and rendered out as a still TIFF.

Proxy Result:
proxystill%2001.tif


L&T Result:
L&Tstill01.tif



Other than the contrast difference, they seem to be the same results. Both QT files look great played full screen on my MBP 15".

I think the most telling thing is that the proxies actually work with with the RED tab. Other quicktimes won't, so I'm fairly sure the proxies are doing the same thing, which saves a bunch of time.

If somebody else wants to test a different way, or has any suggestions, let me know.

Tim
 
I'm noticing slow playback performance with "native" L&T. wishing Apple/RED to catch up with how Adobe did to work with choices of resolutions and being undestructive.
 
Kaku Ito said:
I'm noticing slow playback performance with "native" L&T. wishing Apple/RED to catch up with how Adobe did to work with choices of resolutions and being undestructive.
Click to expand...

If you want, just drag the "H" proxie into FCP and do the same workflow to Color. Works great, so far, for me.

This is a great solution from RED. I have more testing to do before being too excited, but so far, this is exactly the workflow I've been waiting for.

RED Cine and RED Alert will be collecting computer dust in my applications folder. :-)

Thanks!
 
ibloom said:
You're free now little birds.
Click to expand...

Seriously Ian. You are a genius. You provided something that we all needed because nobody else was giving it to us. You saved my ass more than thrice. I hope you're pimping it big in NYC. Long live CRIMSON!

Psst.. when's the update coming?
 
Kevin Wild said:
If you want, just drag the "H" proxie into FCP and do the same workflow to Color. Works great, so far, for me.

This is a great solution from RED. I have more testing to do before being too excited, but so far, this is exactly the workflow I've been waiting for.

RED Cine and RED Alert will be collecting computer dust in my applications folder. :-)

Thanks!
Click to expand...

Hi Kevin,

I tried that, and L&T'ed clip and proxy look identical on the monitor from the timeline, that is good (as long as keeping the color temp native). I'd guess now we don't have to worry about shortening the clips in the L&T using in/out points, previously I ran into problems with in/out points from L&T'ed clips transferred with Crimson.

I hope L&T itself look like the Clip Finder and be able to sort out good takes then transfer. I know I just have to use the Clip Finder for now.
 
Richard Darge said:
Seriously Ian. You are a genius. You provided something that we all needed because nobody else was giving it to us. You saved my ass more than thrice. I hope you're pimping it big in NYC. Long live CRIMSON!

Psst.. when's the update coming?
Click to expand...

Crimson will be still on the duty for me that I have a project that needs to be finished in 4k because the final format is 4k 16:9 and it will be played back on Keisokugiken's 4K recorder/player and Astro's 4K display :). But even for that workflow, new apple support would make things easier.
 
To my eyes there's a slight difference in gradation between those two TIFFs but... I'd like to hear it from the horse's mouth:

Anyone at RED? Is there a difference between Quicktime-wrapped REDCODE and _H proxies when grading in Color?
 
Trevor Meier said:
Is there a difference between Quicktime-wrapped REDCODE and _H proxies when grading in Color?
Click to expand...

that should be the point to discuss about, finally : what's the real difference between a proxy and a wrapped R3D ?

The principal advantage of the wrapped files is that they are all resized to 2K, and they are standalone (they can be grouped in a single folder)... It's easier to work with...

Am I wrong ?

About the quality ? Are we really working on R3D files ? In theory, yes...
 
Guilain said:
that should be the point to discuss about, finally : what's the real difference between a proxy and a wrapped R3D ?

The principal advantage of the wrapped files is that they are all resized to 2K, and they are standalone (they can be grouped in a single folder)... It's easier to work with...

Am I wrong ?

About the quality ? Are we really working on R3D files ? In theory, yes...
Click to expand...

I tried the REDAlart! saving preset applying upon L&T and it works. That will be the clear advantage in wrapped R3D, so you will be more comfortable during editing with how the clips look. Now if that RSX can be applied to the shooting, then it'll be more advantageous to use L&T.
 
Now I see the clear differences between Apple's RD3 support and Adobe's R3D support.
Adobe let you control the metadata even during Premiere Pro or After Effects process, but in Final Cut Pro, you can apply metadata upon L&T but you can't change it unless you reingeting or after you sent it to the COLOR. So, I'm glad that although Apple's current support isn't as flexible but at least it's not destructive.

I'd go with REDCODE editing.
 
Richard Darge said:
Seriously Ian. You are a genius. You provided something that we all needed because nobody else was giving it to us. You saved my ass more than thrice. I hope you're pimping it big in NYC. Long live CRIMSON!

Psst.. when's the update coming?
Click to expand...

Totally agree. Although this plugin is great.
 
Whoa

Whoa

Wow, thought this would come in 2009...
This is a huge break for the Apple workflow. Great news.
The advantage of working with the .R3D in Color is amazing.
Makes you wonder what other tricks they have down their sleeves...
Native 4K, probably.
Red, Apple - Thank you very much!
 
Just reworked on a trailer that I previously worked with REDCINE and this time with directly reading R3Ds with COLOR.

I can probably post this in the near future.

I must say it was so much more control over many things.

However, there's no OPLF compensation parameters in the RED ROOM, so I was wondering to just use sharpen in the FX tab or not.
 
Excuse me but I get a major gamma shift when I send my sequence rendered in Color back to FCP, is there a setting I am forgetting or are we stuck with that same old gamma nightmare??

Emmanuel
 
Emmanuel,

Are you setting the sequence with 10bitYUV? My test back and force was okay, although I got some stuttered frames back from Color.
 
So many developments since I checked this forum yesterday. Glad the reference files to color works. This is truly awesome.
The pressure is now on apple to fix Color as the FCP workflow is still behind premiere pro with their 4k out advantage.
I really don't want to have to hit up lynda.com to learn pPro.
I dunno ... has anyone made this switch? Is pPro easy to learn?

Been reading up on CC in photoshop (Adobe workflow threads)
http://www.reduser.net/forum/showthread.php?t=21612
this just adds more pressure from adobe.
I need to get ahold of CS4 to try it myself
(I work as a retoucher and use CS3 –– luv photoshop)
 
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