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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 :)

4k hardware requirements

Magnus Dorati said:
Will this cut it?

macbook pro 2.2 GHz intel Core 2 Duo
2GB 667 MHz DDR2 SDRAM
Click to expand...

Not even close. Not if you really want to edit/playback in 4K.

You are so far out of the ball park its like you've never even played the game.

You need a RED Rocket™ and a fast Mac. I mean a recent model Mac Pro, not a laptop- mostly because its hard to put a RED Rocket™ in a laptop.

If you don't know what a RED Rocket™ is then look here.

Of course if you are talking about simply editing the RED footage, somehow, someway, then you may be able to come up with something, especially for a short form program.

First off, you need to upgrade your computer. I'd upgrade the RAM to at least 4GB RAM.

Second I'd abandon the idea of directly editing 4K at all.

Instead I'd render the RED footage using REDCINE or another RED tool down to ProRes HQ 1080p. This step will take a very long time on the machine you specified above.

Edit that.

If in some scenes you need to crop into a shot to create a closer version, figure out exactly what you need in FCP in ProRes. Once you figure out what you need then go ahead and go back to REDCINE and create the crop you need as a new ProRes 1080p.

Its an awkward way of working, but it will let you edit.

There are alternatives. For example, you could edit the small R3D proxies on that machine I think. People don't normally do that though because there are problems downstream in the workflow. Also its lower resolution and slower to edit than outputting the R3D to ProRes first.

So, maybe you should rewind your question and start with how long a program we are talking about, and what the deliverable is, and what the post budget is. Then maybe someone will come up with a post workflow for you.

Also I recommend reading on the web:

First off there is RED's page on workflow.

AJA's workflow for RED and KONA 3

Here is an old but good video intro to RED workflow from Studio Daily

And finally the url that will be most useful to you:

http://lmgtfy.com/?q=Final+Cut+Studio+3+RED+workflow
 
Mobile Red Rocket from Maxx Digital. Its great you can play out 2k and 1080p straight from the laptop full debayered to any production monitor. Definitely worth the price of admission.
 
Magnus Dorati said:
Thanks mate. No, you're right. I've never played the game.

Yeah, we're gone edit the footage on a top notch mac pro, but what do I need in order to view the footage that I just shot? I know that it's some sort of a playback feature in the camera, but we wanna view the shots after it's been backed up to make sure we got everything.
Click to expand...

When you say 4k do you really mean 4k? With RED 99% of everyone working in post production with Red is _NOT_ working in 4K. When you play back clips on the camera, they're only partially debayered, and the video tap is 720p (1280x720). Partial debayer is absolutely necessary for playback of .r3d unless you have a Red Rocket card in your system.

Typically, Red footage is posted at whatever resolution it will be delivered in, the majority being HD or film 2k. There are precious few real 4k pipelines currently in use. So, even though the post process may be working from the original 4k .r3d files, the software is not accessing _all_ of the bayer sensor data to form the image, it's only working on 1/2, 1/4, 1/8.

Red Rocket works realtime from the full deal, but that's not going to fit in a laptop, thoug there are a few solutions for running it externally.
 
Magnus Dorati said:
Thanks mate. No, you're right. I've never played the game.

Yeah, we're gone edit the footage on a top notch mac pro, but what do I need in order to view the footage that I just shot? I know that it's some sort of a playback feature in the camera, but we wanna view the shots after it's been backed up to make sure we got everything.
Click to expand...

If you are just trying to confirm that you backed up everything, then I would crosscheck what you have with the camera log and script notes.

Like I said earlier, you should be able to play back the low resolution proxy file on the MacBook Pro you mentioned.

I certainly don't consider that enough to edit with, but you should be able to read the slate, and verify that the take is present and that the data was copied correctly.

It also seems like the slow way of doing that.

I would copy with verification. I don't think you can do that in Finder, if you use terminal, then you can use ditto [source] [destination] -V which gives a file by file list of what's been copied. That might be enough for your purposes. Otherwise, you can use rsync or diff as a second step. If you're feeling up to it you can generate an MD5 for the source pre copy, and then calculate one for the destination post copy.

Me? I just count files for copy at ingest and get them to editorial ASAP, as they log the footage. They'll see a problem fastest, wheras at the ingest table I just want to get media back to the camera ASAP.

When I have the budget I try to keep lots of RED RAM or RED Drives handy, so we can take our sweet time doing ingest and never have to rush a drive back to the camera.
 
John Tissavary said:
When you play back clips on the camera, they're only partially debayered, and the video tap is 720p (1280x720).
Click to expand...

I thought the RED's output was 720p during recording and 1080p during playback, using either HDMI or SDI. (With 4:2:2 chroma subsampling)

Have I gone stark raving?

I also thought one of the improvements in the new cameras was going to be 1080p 4:4:4 taps, which of course enables other interesting workflows for folks that need ENG workflow from the camera.
 
Alexander Ibrahim said:
I thought the RED's output was 720p during recording and 1080p during playback, using either HDMI or SDI. (With 4:2:2 chroma subsampling)

Have I gone stark raving?

I also thought one of the improvements in the new cameras was going to be 1080p 4:4:4 taps, which of course enables other interesting workflows for folks that need ENG workflow from the camera.
Click to expand...

No, you're right, playback can be set to 1080p. Forgot about that one as I don't do much production anymore.
 
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