4K REDCODE™ RAW + Final Cut Studio 2 red.com announcement

[Tonaci Tran]

Just noticed this at red.com

4K REDCODE™ RAW video can be opened directly in the upcoming release of Final Cut Studio 2. Additionally, REDCINE™ can export files to the Apple ProRes Codec 10-bit codec for broadcast quality production.

So I wonder if this confirms immediate support out of the box?

 

[Graeme Nattress]

No, not in FCS2, but a post-shipping update for full functionality. FCP, being a quicktime app, will work with REDCODE data today. Remember "crossing the line" was cut on FCP 5.1.4.

Graeme

 

[Antoine Baumann]

Hello Graeme,

I don't really get the difference between what you can do now in FCP 5.1 (apparently edit directly with the 4k REDCODE RAW files) and what you will be able to do with FCP 6.x

Thanks,
antoine.

 

[Graeme Nattress]

RT enabled, FXplug for RAW control & import interface. Things like that.

Graeme

 

[Antoine Baumann]

Thanks a lot Graeme,

But just to play real time and edit (cut) one stream 4k REDCODE RAW, you can do it in FCP 5.x?

antoine.

 

[Graeme Nattress]

Sure - Thats what they did for Crossing the Line.

Graeme

 

[Emery Wells]

It has been a source of confusion for myself as well, thanks for clearing this up Graeme.

 

[Stephen Gentle]

I thought that the QT file doesn't have the partial decompression (where it automatically makes a 1 or 2K proxy at playback time), but FCP 6.x will. So you'll be able to edit 4K on a laptop with FCP 6, but you'll need a pretty beefy machine to edit with 5.1.4. And the FXplug gives you the kind of image control you get in REDCINE.

Is this right?

 

[Graeme Nattress]

No. Remember that Crossing the line was done in 5.1.4 with the rapid 1k downconvert in Quicktime.

Graeme

 

[Stephen Gentle]

No. Remember that Crossing the line was done in 5.1.4 with the rapid 1k downconvert in Quicktime.

Does that mean that we'll be able to, say, use RED footage in After Effects.. on a laptop?

 

[OwenR]

Still confussed it still seems less than clear

Was crossing the line edited at 4K Or 1k?? "with the rapid downconvert...."

 

[david farland]

Owen....explained here!......traditional offline/online

cheers,

 

[Brook Willard]

I'm guessing [guessing!] that the rapid downconvert takes the 4K REDCODE RAW file and debayers it to 1K on the fly... so you can see the 1K even though the 4K is there "behind" it.

 

[Graeme Nattress]

Good answer Brook! That's exactly right. It's the concept of built-in proxyness.

Graeme

 

[Brian D. Goff]

Good answer Brook! That's exactly right. It's the concept of built-in proxyness.

Graeme

If I had let's say a 4k screen atached to my macbook pro, then it would be possible to edit "online" in 4k, is that correct?

 

[Simon Blackledge]

No. Not correct.

From a 4k file/clip on your macbook/red drive, FCP is reading 1K files.. so your monitor will show 1k.

If you need to monitor the camera at a high res take a feed straight out.

If you need to check after, something like the AJA io/hd would be useful. Use 2K in FCP from redcode (poss not realtime) and use the IO/HD to downsample to 1080P into a 1080 monitor.

Hey Graeme, you know what would be cool.. an option to monitor in RedCine. Like final cut can output using aja/blackmagic.. is this possible?

s

 

[Brook Willard]

Good answer Brook! That's exactly right. It's the concept of built-in proxyness.

Graeme

*whew* I got it right! Now will it base the proxy scale upon the beefiness of one's machine? 1K, 2K?

 

[Ralph Oshiro]

I heard the phrase, "REDCODE has . . . embedded QT 1K and 2K proxies," at NAB. Now, I certainly may have that screwed up somehow. Please correct, elaborate, anyone.

 

[Petr Dvorak]

I am just unsure where is the slowest part in workflow and how it differ for 1080p, 2K and 4K output? And how slow it is?

 

[Chris Gearhart]

*whew* I got it right! Now will it base the proxy scale upon the beefiness of one's machine? 1K, 2K?

I assumed it was user set. If you set it too high, the machine will bog.