Trouble Reconforming FCP Project to RED Media

[Conor]

Hello,

I'm testing out one of the workflows described in the RED FCS Whitepaper and running into a little trouble. I'm trying to use "Workflow 2: Work Offline Using ProRes; Finish Using RED QuickTime Media."

I used Log and Transfer to ingest the RED media into FCP as ProRes 422 QuickTimes. I've done this several times before, and, as usual, I had no problems. I cut together a short sequence and then MediaManaged it to create an offline version. So far, so good.

Then I switched the preferences in the Log and Transfer window to transcode to "Native." I select my new offline sequence and click Batch Capture, but I can't reingest the RED media. The Log and Tranfser window comes up and immediately gives me the error message:

Volumes Not Available:The selected clips cannot be imported because they originate from the following volumes that are currently not mounted.

I haven't moved or changed the RED files since my first Log and Transfer. Any ideas why FCP can't find them now?

 

[Conor]

I guess I'll call that a false alarm. I tried the whole process again and it worked correctly. Thanks.

 

[curtis_liquid9]

Actually not false alarm. I have the same problem, but it is not going away, trying to transcode now for the 15th time. And this is after restarting FCP several times.

 

[curtis_liquid9]

Also I keep getting an error that it wants to load in footage off tape, when there is none.

 

[Conor]

I just got the same thing. It's looking for tape sources though there aren't any, and it's saying that my volumes aren't mounted. So, no false alarm; actual alarm. Any ideas anyone?

 

[Tim Rygh]

Do you have all the RED volumes pre-loaded in the browser window of Log and Transfer before you do a capture? That might be one problem.

I am having the same trouble, except mine is not knowing how the Director (in another country) made his offline (done with ProRes clips) if it was done by the workflow #2 in the white paper, it should work fine, no problem. I have done this process many times. But trying to get my offline sequence back online by making new ProRes proxys to get the offline back up, only a handful of clips show up, and no matter what I do to call them back, L+T never comes up, only L+C. So I am assuming the UUID is not recognizing the main file, and since I can't change it, I will have to go in and manually re-insert each clip. He might not have used L+T for making his ProRes proxies, but then why would 1/3 of the clips work and others not be recognized? Clips were named all different things, so I don't know what he did, and now I am at an impass, and might have to bail on the project since I can't get into doing what I was suppose to do in the first place. And even if I did get the proxies back up, I might have to go through the same headache when I Offline and reconform back to the RD3 files.

 

[Alex Carr]

Export XML, Open Clipfinder, Re-link to original Camera Proxies, then re-ingest that XML into FCP and Send to Color by automatically Linking to R3D Footage through the Proxy edit instead of the Pro Res Edit.

Thats a way to do it in about 1/3 of the time it takes to do FCP Log and Transfer, if just a little more complicated. It also works 100% of the time.

 

[Martin B.]

It doesn't work that way. The XML from PPro points to R3Ds, you'll need to pass it through Clipfinder to re-conform to the H proxies.

I'm waiting to see comments on how Clipfinder can really improve the CS5-FCP road, but as to this XML matter, I've tried something that worked: edit the xml, replace the ".R3D" for "_M.mov" and then FCP looked for every proxy without any problem. It wasn't a tough test, just fooling around, but It seemed to work ok.


Regards!

 

[Eric Cameron]

I'm waiting to see comments on how Clipfinder can really improve the CS5-FCP road, but as to this XML matter, I've tried something that worked: edit the xml, replace the ".R3D" for "_M.mov" and then FCP looked for every proxy without any problem. It wasn't a tough test, just fooling around, but It seemed to work ok.


Regards!

Thats precisely what clipfinder will do automagically.

 

[Martin B.]

Ooooh, I see! Now I have a small doubt, just to have in mind how this whole process will be: If I want to get in Color and export the final DPX (2k) from there. Should I go for the Full Proxies (_F.mov)? Or is it ok to use the Medium proxy and Color will export right from the r3d to keep the best possible quality.