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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 :)

Experiment workflow - How to get rid of color bug -I hope

Hi stressed days, but I meneged to send the same shot from color and from redcine to 35mm print. shot was 4K 16:9, redcine project 2K 16:9 output full debyer filter linear, then into color graded and rendered to dpx. same project in color import the R3D graded and rendered to dpx's. I will probably get the 35mm in a few days and let you know my observations....
 
karilla said:
Hi stressed days, but I meneged to send the same shot from color and from redcine to 35mm print. shot was 4K 16:9, redcine project 2K 16:9 output full debyer filter linear, then into color graded and rendered to dpx. same project in color import the R3D graded and rendered to dpx's. I will probably get the 35mm in a few days and let you know my observations....
Click to expand...
This is great! Please let me know.
 
Great! I'm looking forward to it.
 
karilla said:
Hi stressed days, but I meneged to send the same shot from color and from redcine to 35mm print. shot was 4K 16:9, redcine project 2K 16:9 output full debyer filter linear, then into color graded and rendered to dpx. same project in color import the R3D graded and rendered to dpx's. I will probably get the 35mm in a few days and let you know my observations....
Click to expand...

Any particular reason you went with linear filter?
 
This is great, I haven't had a chance to do more testing with the proxy->color workflow, but I'm glad someone else figured it out.

I figured something was up with the XML import since when I would import the same XML a few times, I got different repeat-frame results (although on the same clips each time).

This seems much more handy than figuring out which clips don't work and using L&T for them.
 
Luca Immesi said:
7 resize the clips in the geometry room
Click to expand...

I never have had to adjust the clip size in the geometry room, no matter what proxy size I use. I just change the project settings before I do anything to the corresponding 2K size an it automatically scales everything just right.

Am I doing something wrong?
 
Tim Sutherland said:
I never have had to adjust the clip size in the geometry room, no matter what proxy size I use. I just change the project settings before I do anything to the corresponding 2K size an it automatically scales everything just right.

Am I doing something wrong?
Click to expand...
No, it's ok. But also for a color project 1920x1080?
 
You're right. I've been doing all my stuff at the 2K red resolution. When I'm done then I'll export 1080 and SD versions. Then I'll have to do scaling.

Sure is odd that color can handle EDL but not XML.
Thanks for your work on this by the way, now I can get excited about the FCP/Proxy/Color workflow again.
 
Gunleik Groven said:
Any particular reason you went with linear filter?
Click to expand...

Linear?

I did it very fast with out pausing to think much. But, Redcine is doing a full debyering so I did not want to add sharpening. I dislike most of the scaling results I saw from color before the RED workflow so I supposed it is done linearly in color. Lancoz is usualy my default for scaling in REDCINE or Combustion in wich I do most of scaling works.
 
strange bug:
1. Edit sequence using shots A264, A265, B033, B034.
2. Export EDL
3. Open Color, Import EDL (select 24 fps & 2048x1152)
4. Select the external volume where footage is saved.
5. Color loads wrong clips from shots A226, A229, and others.

Any ideas?
 
Joyfool said:
strange bug:
1. Edit sequence using shots A264, A265, B033, B034.
2. Export EDL
3. Open Color, Import EDL (select 24 fps & 2048x1152)
4. Select the external volume where footage is saved.
5. Color loads wrong clips from shots A226, A229, and others.

Any ideas?
Click to expand...
I think it's not a bug but a "wrong" file path from the "point of view" of color. The best way is to have all the r3d files in the same project folder. I mean:
MY_PROJECT and inside it you can have other folders like "shooting day one", "shoting day two" etc. and inside this the RDM folders.
But if in the same projects folders there are other type of files different from r3d color makes a mess. So we have to keep everything tidy from the beginning (shooting and then editing in fcp) to make this workflow work. I've noticed also there's some issues with files from build 15.
If you want to try there's another update for color 1.04.
I've downloaded today and I'm testing it.
 
I just tried this workflow and its much better! Great find!

So, I don't know about anyone else and maybe this has already been covered but I get the notorious gamma shift every time I send my files back and forth from Color - FCP. Tried both DPX renders and QT with no success, same gamma shift. Not a solution, but a workaround is to apply a Gamma Correction filter back to the clip in FCP with the settings of 0.8. I found that by toggling back and forth with Desktop Preview between FCP and Color that this brings the clip back to normal like you graded in Color. Not very elegant but it will work.
 
Okay boys and girls, here is where it gets exciting, for me at least. Based off of Luca's workflow findings in Color/FCP I decided to see if Color could be tricked into thinking a transcoded ProRes File was in fact linked to the R3D in the following way,

1. Transcoded through RedRushes R3D's to ProRes HQ at 2048x1080 (I assume any resolution will work but not positive) EDIT: Just did a 1280x720 Transcode out of RedRushes and it works like a charm when you Conform in Color to 2048x1152! Works!

2. Added the _H.mov to the end of all the ProRes Files and placed them into their original .RDC folder with the R3D and the other proxies. (Just replace the actual _H.mov proxy file with your ProRes file named the same,
EDIT: Actually, you can have your transcoded files anywhere you want. They don't need to be in the original RDC folder with the R3D. You will relink in Color and select a source directory of the R3D Files anyhow.

3. Edit in ProResHQ with all the Native goodness that comes with it,

4. Perform Luca's EDL Export from FCP / Import into Color, select the Volume/Directory that contains your R3D's and presto, your Conformed using the R3D's in Color with all the Native control just like using Luca's Proxy method!

This allows you to skip the media manager step, work in ProRes in FCP at any resolution you choose and re-conform back to the R3D's in Color very quickly and easily saving you the hassle of working with Proxies/Reference files. I like this workflow the best! Thanks to Luca for figuring out the hard part, this takes it one step further!
Enjoy!
 
I think your idea Mike is good but my purpose is to find a way to immediately cut and grade red footage without transcoding. I've noticed with the new red code you can get a decent playback even on a laptop so for cut only stuff it works. BTW I love Vuze!
 
Luca Immesi said:
I think your idea Mike is good but my purpose is to find a way to immediately cut and grade red footage without transcoding. I've noticed with the new red code you can get a decent playback even on a laptop so for cut only stuff it works. BTW I love Vuze!
Click to expand...

I personally would rather take the little bit of extra time to transcode than work with the proxies. Personal editorial choice. That's why when I saw your workflow here bypassing the L&T it sparked that it would probably also work with the ProRes files, and it does. L&T was a step in the workflow that bothered me so your workflow discovery is awesome! Different strokes.
Are you getting audio to pass through back into FCP with the proxies workflow you have outlined? That's the only part I can't seem to get to transfer using your EDL method.
Also, I tested build 18 anamorphic footage with the ProRes method I outlined and it works as well. You have to de-squeeze one clip in Color and apply those settings to all.
Anyhow, great find!
 
Luca Immesi said:
I think it's not a bug but a "wrong" file path from the "point of view" of color. The best way is to have all the r3d files in the same project folder. I mean:
MY_PROJECT and inside it you can have other folders like "shooting day one", "shoting day two" etc. and inside this the RDM folders.
But if in the same projects folders there are other type of files different from r3d color makes a mess. So we have to keep everything tidy from the beginning (shooting and then editing in fcp) to make this workflow work. I've noticed also there's some issues with files from build 15.
If you want to try there's another update for color 1.04.
I've downloaded today and I'm testing it.
Click to expand...

Thanks Luca, You're right. It was the directory structure. I have 1 TB of Data organized from A & B cameras. The A cam 2ndAC downloaded his data in a deeper file structure than the B cam files - I wonder if that has an impact since my sequence refers to both cameras. In anycase I copied the clips to a clean directory as you suggested and it worked like a charm.

It's really quite amazing...I mastered a 2k music vid on an imac 20". Sure the playback was jittery but certainly workable. Now time to test the premier pro on pc...
 
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