Welcome to our community

Be a part of something great, join today!

Log in
  • 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 :)

2k proxie

W

Warwick Brown

Well-known member
Joined
Apr 28, 2007
Messages
46
Reaction score
0
Points
0
Age
58
Location
Sydney
Website
www.myshowreel.com.au
Hi all
am I missing something,i just shot my first red footage got the drive home dragged the qt proxies into FCP and WOW! the image was what i saw on the day,sharp and well exposed and truly truly beautiful.i saw no need to change a thing,so here is my point can i,if i am happy with the look of the 2k proxie files just use them over the r3d or am i missing something far more important.

cheers
wazza
 
Hej!

Hej!

The proxis are 10 bit only - you get more color information out of the RAW files.
in addition to that i think the debayering isn't as precise and that affects also the noise/reduction.
(try in out in redcine)


martin
 
Just came back from a RED DAY last Friday and Workflow Master Kevin confirmed that 2K QT with FCP Pro Res 422 codec is perfectly fine for HD broadcast.
 
Is this where FCP "Color" comes in, allowing you then to do a pretty top-notch grade so that the 2k files can then be used for full online to HD? If this all works smoothly, so not needing RedCine or any other software that editors may not be familiar with it'd make the post guys and producers relax a LOT I think. The post side of things is something I've been asked about by producers, they've just been so unsure about exactly what implications it would have for their standard Varicam etc. workflows and what additional time/expense/learning it would entail - and maybe make it a deal breaker.
Steve
 
Yes, if you stay in ProRes, you can grade in Color right away, no need for DPX or the like. I'd say it's fine for HDTV, only cinema is more demanding.

Regards,

Uli
 
The proxies are actually 32bit YCbCr float decodes from the 12bit RAW data.

Graeme
 
Graeme, are you talking about the prores files that are created in the new log and transfer beta in FCP?
 
The Quicktime Movies that the camera generates, and that are re-generated / created by Red Alert are pointers to the R3D data. They can, if asked by FCP or other apps that can request the r4fl pixel type, be decoded to a 32 float Y'CbCr format. ProRes also supports r4fl as that is how FCP deals with 10bit codecs. 32float YCbCr is superior 10bit YCbCr.

Graeme
 
Yes, 12bits per channel as in the sensor itself.


Graeme
 
So again, to make things clearer. From what I understand the proxy "mov's" are basically just reference files at different resolutions correct? They all read from the r3d file?
 
Steve Phillipps said:
Is this where FCP "Color" comes in, allowing you then to do a pretty top-notch grade so that the 2k files can then be used for full online to HD? If this all works smoothly, so not needing RedCine or any other software that editors may not be familiar with it'd make the post guys and producers relax a LOT I think. The post side of things is something I've been asked about by producers, they've just been so unsure about exactly what implications it would have for their standard Varicam etc. workflows and what additional time/expense/learning it would entail - and maybe make it a deal breaker.
Steve
Click to expand...

I can't see how RedCine/RED ALERT! aren't needed. I also can't see why an editor (or his assistants) wouldn't WANT to learn something new to stay on top of the game. The industry is constantly changing, more so now in the present. Editors have to change with it.
Just a few years ago editors didn't want to "work on a computer?!"
 
How would / could you conform from a 2k proxy timeline to the r3d or some sort of high-res prores render? Basically - offline 2k to online at ????, then cc, etc?

Thanks,
Chris
 
You must log in or register to reply here.
Back
Top