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This is not directly RED issue but why Apple Color doesn't let you choose to output DPX when a timeline with DPX from FCP was sent to Color? I just found out that rendering FCP timeline with GlueTools DPX preserves gamma level perfectly, so I thought to place the composited DPX on to the native...

My feature film jobs got settled down a bit, so now I have little more time to check the Adobe workflow with Mac Pro. I installed the latest CS4 AE and PP, installed the Adobe Importer and the AE plugin 1.3. AE seems to work okay but when I import native R3D files then they look like they are...

Happy New Year! Japan just made year of 2009! Hope every RED user prosperous year.

In order to submit dpx files to the DI studios, some sections that I was rendering exceeded 1TB, so I ended up buying the 1.5TB Seagate Barracuda and tried to copy the files with 1.12TB total. I went to sleep after I initiated the copying process, I came back to my studio 6 hours later, but...

Anton Fabi and me are discussing about how we can finish DPX files out of Color on FCP for final editing. Anton points out that FCP only handle 8-bit RGB. I'm guessing by using GlueTools allows me to work with 10-bit RGB. Has anyone figured this out?

Has anyone figured out to export DPX from Color to import to FCP/Gluetool and conform them using Clip Finder or something similar?

Hello all, I ran some extensive checking with CineForm workflow and right now, the missing link for such a handy codec is the support for Apple Color (rather Color has to support more QT format in general). So if you shoot on RED, use Mac for post production with rather data size conscious...

My client handed me the offline edit tha the had already worked in the form of FCP XML, then the DP wants to use CineForm to go back and force between online editing and compositing house, then I scratch my head. But with the help from Hans and idea of my own, I got over this puzzle. So, the...

Althoug I reported few issues, overall, to be able to go back to RAW (RED ROOM) and directly getting into Primary and especially Secondary is quite an experience for me, so just has to share this everyone. I was working on a trailer for this shot-on-RED feature movie called "Highkick Girl". It...

Have you folks notice that when you try to reset the Primary color by clicking the "Reset primary in" button resets everything including the RED Room value but actually the display does not go back to the real default? Say you set it to REC709 gamma instead of REDspace, then click Reset primary...

Compressor update was included in the latest Pro Application update that was released at the same time as RED's FCS installer, but how did it implement R3D? Maybe not? I was able to place Wrapped QT clips to Compressor directly, so that means you can use L&T to bake metadata to native, wrapped...

Is there anyway to create short R3D footage out of longer one by applying in/out points? I want to do this because I need to create really concrete R3D material without any excess portion of clips for demo purpose. Does anyone know? Thanks.

These past few days, I was working with various video hardware to edit with the new R3D workflow. Both MXO and MXO2 seem to work fine on the new workflow. Playing back the wrapped QT or Prores 422HQ (naturally, but 2K to 1080 on the fly resizing via Open Timeline), sent to Color and display...

I was working around with footage shot in grass field and noticed a lot of moire in wrapped QT on FCP. I tried to apply RSX that I saved in RED Alert! to have least moire but it still shows a lot. This would make editing session little difficult in front of clients. I sent the edit to Color...

I saw this on the Japanese distributor's page, XVM-245W, Grade 1 Monitor that supports dual-link HDSDI and equipped with 10-bit panel and circuitry. PDF I'm pretty sure it'll be more expensive with Dream Color 10-bit (I don't know why it is discussed here that Dream Color is not 10-bit panel...

Musetex and Visceral Psyche will be showing RED ONEs and the workflow at InterBEE, Comtech/Matrox booth, booth #5608. Visceral Psyche will be showing their RED ONE with Birger mount and another RED ONE with the new RED 18-86 T2.9 lens. We have lots of clips and workflow, real stories to tell...

Here's something that our client "Pictures" worked on using three RED ONEs for very wide angle shots. Since it's running on Flash, we couldn't really keep the rich contrast in the pictures, but the Flash production company "Image Source" put together cute ideas to make this flash interesting...

We had Tiffen 1.2 ND filter at today's film shoot and it ended up surprisingly blue. Anyone experienced this before?

My Build16 R3D footage is working okay but when I try to convert B17 footage then I can add the clips, but when I click start it doesn't seem to read the content and total frame count says "1" instead of actual length and doesn't convert anything. Is this the case?

Yes, it is my fault that my disk ran out for exporting tiff files, but when the disk space run out then REDCINE does not warn you like other Apple apps. REDCINE makes empty files upon exporting when there's no disk space and even makes faulty rcn project file that won't let you retrieve the work...