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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 :)

RED FCS2 plugin downside!

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gbalaji

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Everyone buzz about the new Red FCS 2 Plugin, but I am totally down after reading and installing it. The plugin needs double the hard disk space to work with and the time it takes to rewrap as quicktime.

Is Adobe workflow better than Apple one. What Red users think about?

Post your thoughts and comments and make Apple rethink their strategy!
 
The advantages really come if you are using and sending to Color. Otherwise I see no advantage for an offline edit that is going to color grading via DPXs or anything that isn't Color since the RED QuickTimes require just as much processor overhead as the proxies. I wrote a piece about it here. But the actual creation of the files is very fast if you have fast hard drives since it's really just a file copy.
 
the greatest part of the new FCP workflow is the native ability in Color. The ability to automatically (and invisibly) conform to your cut and then re-reference your .r3ds for Color work.

The part I don't understand is the log and transfer part. For me it would have been better to allow us to work (more efficiently mind you) with the camera generated QT proxies, and then still be able to 'send to color' and go back to the RAW files for color work.

All that said, I am expecting BIG BIG things from FCS 3.0, and Color 2.0. With regards to .r3d workflow that is.

For now, Adobe's route seems better to me....
 
Chris Parker said:
the greatest part of the new FCP workflow is the native ability in Color. The ability to automatically (and invisibly) conform to your cut and then re-reference your .r3ds for Color work.

The part I don't understand is the log and transfer part. For me it would have been better to allow us to work (more efficiently mind you) with the camera generated QT proxies, and then still be able to 'send to color' and go back to the RAW files for color work.

All that said, I am expecting BIG BIG things from FCS 3.0, and Color 2.0. With regards to .r3d workflow that is.

For now, Adobe's route seems better to me....
Click to expand...

Check out the CLIPFINDER workflow for editing w/ proxies then reattaching the wrapped qts to send to color. Gets us closer to what you're suggesting. I'm still curious regarding color space and gamma shift issues. Has anyone produced any quantifiable tests yet? Do the wrapped qts play back in rec709?


http://www.reduser.net/forum/showthread.php?t=22562
 
the clipfinder workflow looks awesome i can't wait for my next project to try it out, not only can you work natively in color off of proxies, but what i'm excited about is having full editing funcitonality thru prores generated qt's AND full color support of the r3d, clipfinder does that as well, and it's free.

Also, has anyone heard from ian on what he plans to do with crimson and this new functionality?
~T
 
I love new Color plug in... now I can get on eye like 1/3 better picture (in resolution and in grading quality), but I can not find the way how to render retimed clips out of Color.
Color upgrade 1.0.2 (maybe some other version) added option of sending speed changes in/out of Color from/to FCP. That doesn't work with R3D files. :(

How can I automatically match two seqences in FPC for time effects? is that even posible? Or I need to move all the clips by hand.

Any problems using handles in new workflow?
 
how about rewrapped QT happening in camera itself with an option to enable or disable?
 
Ingesting using new L&T plugin will let you apply RSX that you created with RED Alert!.
So before you going to L&T, go to RED Alert! and do a brief color grading of metadata, save as preset, then upon L&T ingesting, you will be able to choose the preset you have made.
 
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