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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 ADOBE CS4 INSTALLER (v1.3.0)

Eugene: no need for the information if it worked now. In theory it could be because you also had CS3 installed, but I'm not sure why that would be the case. I think I may have one machine here that has CS3 so I could try also installing CS4 and seeing what happens.....

Spike: Premiere is conforming the audio, we don't have control over that. However, the audio conform stage is just a temporary thing, future versions will not do that.
 
Rob, Deanan and Adobe team,
Thanks you very much for making this happen. I just had a first run through in CS4 and it worked like breeze.

A job well done!
 
Anyone knows if it will be possible to work at 4K Half HQ inside After Effects in the next builds of the RED R3D Importer? Working at 4K inside After Effects is taking us four times more time to render than 2K. With our final grade of the clips (with a lot of effects!) a sequence of about 25 secs needs about 4 hours of render in an Mac Pro with 8 Core and 16 GB of RAM using multiprocessing (before it was only 1 hour).

Sorry if I'm asking the same question again but nobody answered or talked about this problem yet :P
 
Spike said:
Works great on MBP so far but is it possible for it not to conform the audio until I put the clips in the project folder? If I'm just browsing for the files I want to use I don't want to use up disk space with conforms I will never use.
Click to expand...

I got the impression that I didn't need the proxie files in the directory and deleted them. Then I had no audio. I too still have CS3 installed.
On another note, I was running the trial version, and had the codec problems. I paid for the upgrade and installed the key. I still had the problem on Pr and had to remove and reinstall in order for everything to work properly. (That did cure it though. Maybe this was also because CS3 is still installed.)
It will get uninstalled soon as I am going to try out 16 G of memory which means new OS.
 
Rob Lohman said:
Eugene: no need for the information if it worked now. In theory it could be because you also had CS3 installed, but I'm not sure why that would be the case. I think I may have one machine here that has CS3 so I could try also installing CS4 and seeing what happens.....

Spike: Premiere is conforming the audio, we don't have control over that. However, the audio conform stage is just a temporary thing, future versions will not do that.
Click to expand...


I think it's more Windows related, not RED or Adobe, as I did a full reinstall of XP SP3 and all the apps and the installer worked this time...

Go figure. :nerd:
 
Wow, you have vice in developing guys.
time to update after effects for me.
 
I am thrilled to have the new software but I do have one important problem:
I nearly always shoot with both my Reds and then want to use the multicam function in Pr. Problem is that my computer is too weak.
What happens is that the video runs for about 1.5 seconds then stops while the audio continues to play. Not the most desirable way to edit. I find that the switches are very unpredictable under these circumstances. Where you are in the audio is not where the cut winds up being on playback.

Anyway, my question is: What kind of PC do you need to make this function work correctly. (Cpu(s), memory, drives, etc.
Thanks,

Dave
 
I think I have discovered a minor bug:
When I select 29.97 frame rate, (I haven't ever used any other) and 4KHD or 4K settings either 1K or 512, the default is Drop-frame for the time code. Unless I am mistaken, this is not an available option on the Red one camera. I think it's always and only Non Drop Frame. Obviously, not a big deal, unless you forget to change it.
Hopefully fixing it is just a matter of changing some entries in an array. At worst.

Dave
 
Will, your Pimp. Ok I said it.

SICK working with this thing...:)

it's soooo easy for once to deal with REDCODE!!!!!!!!!!!!!!!!!!
 
Dave: that would indeed be a problem, all our timecode is NDF. Thanks for finding it and I'll put on the list of things to fix!
 
Eugene,
I have been having trouble installing the RED Installer in CS4. I did use the Universal Extractor and I was able to extract the Sequence presets and paste them into the CS4 Sequence preset folder. The RED presets now appear in my new project in Premiere,but I do not see R3D files within Premiere.
Do you or anyone know where the other files in the install go in the CS4 folders?
There is a files folder and an Adobe folder in the installer.

Ralph
 
Rob Lohman said:
as far as I understand the 1080p limitation is for preview only because the default preview codec is an MPEG codec. If you have a codec installed that can do higher resolutions than preview at higher resolutions should also work.
Click to expand...

I wonder if Cineform's Prospect update for CS4 that is due in January will allow for a higher codec?
 
Does this computer have a RAID drive setup? (This is in regards to Kristin Stewart).
 
Umm, I meant ...

Streaming RedCode out of camera which is accepted by a laptop with OnLocation running, which allows for direct-to-disk recording and monitoring of the stream?
 
For proxie offline work, that may suffice - but going out over HD-SDI means you will need additinal hardware for the signal. The camera currently only outputs 720p/59.94 (with 2:3 pulldown when shooting 23.976) and you will always be in a REC709 color space. If all metadata was transferred, then one could go back and do a conform from the original R3D files.

For finishing work - it sort of defeats the purpose of having a 2K/4K camera shooting RAW to do that.

Michael
 
No, I meant streaming RedCodeRAW for direct-to-disk recording on a laptop using OnLocation.

The program could also be used for [separate] monitoring.
 
Ah...I think that would require a lot of work on RED's end to achieve. If it did work, the monitoring would be delayed by some number of frames/seconds since the file needs to recorded to disc, then decoded by the viewer. I don't think that you can decode an R3D file before it has been closed when the recording is done. R3D by nature already records to a hard drive - what OnLocation is doing is offering FireWire based formats the same luxery with the additional monitoring and scopes (digital light meter). I don't know if OnLocation supports other hardware for HD-SDI based signals or not.

Perhaps over time, with a SAN type drive fast enough to record and decode a stream of R3D, multiple systems could be uses on set allowing multiple functions to occur at the same time - tethers the camera, but there are plenty of video villages working that way today.

An OnLocation type product would just apply an RLX file for monitoring to reassure the producer/director they can eventually get what they want from the images. The purpose of RAW is to only bake in the look for the deliverable. Sort of like Avid's first tag line in 1989: "Change your mind without losing it."

Michael
 
Haha, yeah I see.

The hard-disk requirements and the whole de-Bayer thing are not so easy, I agree.

It's just that working with the HVX200 and OnLocation was very sweet [and fast].

Maybe someday a similar workflow will be possible for cameras of the RED caliber.

Thanks for the explanation.

Merry Christmas. :sorcerer:
 
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