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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 :)

How to replace QT proxies with RED RAW files?

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Krishius

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I have a timeline which is edited from QT proxy files.
Is it possible to replace the QT proxy footage in seqence with RED RAW files using FCP RED plugin, so that I could send seqence to Color?
If it is - how?
 
Crimsonworkflow I like it works relatively well for me http://www.crimsonworkflow.com/

Rubber Monkey i have not tried yet.

Clipfinder might but im not sure.

Try them all in demo mode see which you like best.
 
Yeah, but I want to know is it possible to replace them right in FCP without sending them to these 3rd party tools. Like do a batch import (if we talk in Avid terminology).
 
Both Crimson and Monkey Extract are very useful in a Red workflow (I have both) but neither do what you are looking for here, as they are for converting to non native formats for the online.

You can just 'send to Color' from a time-line cut with proxies. There is currently no way (that I know of) to use L&T to batch import to self contained Redcode Raw QuickTimes from an edit that was done with proxies.

There are however issues with sending proxies to Color if the clips span multiple 2GB R3D files. The work-around is to use an EDL - search this forum to read more about the issues and solutions.
 
Ok - then - do RED RAW wrapped QT files contain timecodes?

Edited sequence is not long (only few minutes).
I thought that I could import needed footage in FCP via Log and Transfer tool (so that RAW wrapped quicktimes would be created) and than just replace used QT proxy files manually with these RAW quicktimes.

What do you say about this?
 
Krishius said:
Ok - then - do RED RAW wrapped QT files contain timecodes?
Click to expand...

Yes they do.

Krishius said:
Edited sequence is not long (only few minutes).
I thought that I could import needed footage in FCP via Log and Transfer tool (so that RAW wrapped quicktimes would be created) and than just replace used QT proxy files manually with these RAW quicktimes.

What do you say about this?
Click to expand...

You could certainly do that if you have the patience. But I would certainly recommend you try a simple 'send to Color' from the proxy edit first. You may well find that most of the clips come across fine, and you only need to manually log and transfer and replace a few of them. Bear in mind that even if you cut with P proxies, once in Color you still have access to 2k of resolution, exactly as you do with log and transfer. You just need to set the project resolution as required in Color, and set the scaling in the geometry room.
 
You could try just deleting (or renaming) the QT Proxies, do a L&T of the footage (make sure the filename is the same) and then just reconnect the media.

I find this is typically pretty effective.
 
This is pretty easy with one of the workflows described in the FCP whitepaper:
Edit in an easier format, make an offline version with media manager, change ingest settings and ingest again with L&T.
 
Yes! If you edited proxies, all you have to do is SEND TO COLOR and it will pick up the original R3Ds. It's fantastic and works great. You will need to change the project size in Color, as it will use the proxie size, but insert 2k R3Ds.

If your edits span across R3D segments, you may need to create an EDL first to avoid the dreaded loop but.

There's a great thread about it. Search for it.

Jim

Krishius said:
I have a timeline which is edited from QT proxy files.
Is it possible to replace the QT proxy footage in seqence with RED RAW files using FCP RED plugin, so that I could send seqence to Color?
If it is - how?
Click to expand...
 
jimhare said:
Yes! If you edited proxies, all you have to do is SEND TO COLOR and it will pick up the original R3Ds.
Click to expand...

what Jim said.

if the reason to want to replace the proxies is so you can grade with the .r3ds, then don't bother. If you send the proxies to Color, you be dealing with the RAW files. :)
 
Loren White said:
wait.. color works off of the r3d's? isnt that the whole selling point of Scratch?
Click to expand...

scratch has other benefits beyond referencing r3ds, including full 4K support (opposed to color's 2k)
 
Scratch Selling Point

Scratch Selling Point

Loren White said:
wait.. color works off of the r3d's? isnt that the whole selling point of Scratch?
Click to expand...

Working with Color is a great way to get Quicktime movies in R3D form into a color corrector, but I don't think it negates the uses of Scratch. Scratch is a very robust conform tool which allows for better interpretation of the list, better and faster preview during the actual grade itself, better and faster results in rendering and more output variables including tape.

Leaning specifically towards cost: Color, in my opinion, is hands down the best tool to grade R3Ds from a Final Cut list.
Leaning specifically towards speed: Scratch is a much better tool to color correct R3Ds.
(of course, the economics of speed probably beg their own discussion)

So like everything in life, time, cost and precision all hang in balance between unique tools that offer different strengths and weakness. Scratch can essentially out perform Color in as many categories that Color will out perform Scratch. Based on testimonials, experience, and test results, you have the fun task of determining when and where the trade off is best used.

I published these debayering test results last week which show different precision results from some of the popular tools in DI workflows. As we all are still experimenting with this medium, knowing where your image potential begins and ends may be a good place to start deciding how to make the best use of available tools.

Whatever tool may end up performing the job, the talent of the artist will probably be a better overall investment for a project anyway.

This still is from Donnie Darko 2 (S. Darko). These are 400x400 cut outs of full debayer to RLog DPX from a 4K 2:1 B15 source.
 
As a freelancer on a project by project basis it's hard to justify a Scratch right now.
Given the option however, (and the right environment) I would definitely prefer scratch. (speed, quality, support, output)

The power for 4k Color is there.. just need support.
 
I tried to send quicktime proxy edited timeline to Color.
Yes, it really links to R3D media but some of clips link to totally wrong R3D files.
In FCP everything's fine but in Color some clips, although named the same as in FCP, are linked to wrong 3RD's. Thumbnails of clips in Color are correct but in reality some of the clips contain wrong video. I don't get this... I thought that maybe the names of R3D files are similar (so that might be the reason for wrong linking) but everything's fine with that - all R3D clips (and QT proxies) have totally different filenames.

What's the problem?
 
Use native ingest instead.
 
Media Manage

Media Manage

Have you tried just media managing the project and re-importing the media managed clips as Native Quicktime wrapped R3D?
 
Hey, speaking about Color and stuff...
What you think about this workflow:
Edit proxys i FCP, send to Color, se Color to RedLog (Gamma), RedSpace (colorspace), 2K, full debayer, no grading
Then just export out as DPX and send that to the Posthouse who might be grading in a Resolve/Luster or whatever.
Or export as Uncopressed QT in HD, take back into FCP, lay of to an HDSRtape. Send that (or the QT) to the posthouse. That should give you an 10bit uncompressed or SR-compressed source for them to grade on. An uncompressed QT should be as good as a DPX, if the reciving app can work nativly from it.
 
haven't tried it, but it sounds reasonable to me.
 
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