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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 :)

A not so complicated plea.

A. Bastaki

A. Bastaki

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1. What I would like to see is... being able to run 4k footage RT in adobe premiere.
2. To enhance the grading tools in Redcine or Red Alert... esp. the Hue and saturation part. what would be really cool is being able to choose each and every channel seperately, adjust that channels' hue, saturation, lightness.
by channels... I mean... ROYGBIV.

E.g. I can select Violet, slightly desaturate it, or change it to another color, and have it darker.

To see this in action, kindly check out Adobe Light Room. I wish color on fcp was like adobe lightroom + the extra stuff.

3. If you can't do the seperate channel color adjustment then, please... Atleast allow After Effects to READ R3D files and be able to take advantage of the 10-bit image.

4. If you could throw in shadow and highlights... well.. lol... we can't ask for more.


If you can't do any of that, atleast allow premiere to RT edit 4k, and allow after effects to read and use .r3d
________
Buy digital scale
 
They have said they don't intend RedCine to be a true grading app. It's more of a prep app so you can send the highest quality RGB file to a grading app.

DPX holds almost all the usable info that can be dealt with in todays systems. So It's almost like sending raw into After effects.
 
Mike Prevette said:
They have said they don't intend RedCine to be a true grading app. It's more of a prep app so you can send the highest quality RGB file to a grading app.

DPX holds almost all the usable info that can be dealt with in todays systems. So It's almost like sending raw into After effects.
Click to expand...

Eactly, I don't think this is the intended function of REDCINE, so I wouldn't hold your breath. There are many good grading apps out there and REDCINE is the perfect tool to prepare your footage for your standard workflow.
 
The Cineform route is in my opinion not the best choice, you add another step: transcoding, that is very time consuming. And you loose the connection to the .R3D files, the power of RAW.

If you want to grade with AE, DPX is the best way to go. But you have to transcode again and you need even more storage. And as always: currently SCRATCH is the best solution, until other grading tools support R3D.
 
I'd say there is no principial difference between Cineform and uncompressed DPX. In both cases you have to transcode so you loose the connection to the .R3D files. Isn't it?

The very difference is the size of the files. 10 times smaller in compressed Cineform.

Transcoding to Cineform is probably slower than transcoding to DPX, but what may be the difference? Is it really pain?
 
I'd say there is no principial difference between Cineform and uncompressed DPX. In both cases you have to transcode so you loose the connection to the .R3D files. Isn't it?

The very difference is the size of the files. 10 times smaller in compressed Cineform.

Transcoding to Cineform is probably slower than transcoding to DPX, but what may be the difference? Is it really pain?
Click to expand...

With DPX you still have your source code relation with the R3D files.
Compression for recording is ok, but not for finishing and grading. With compression you throw away information and you're not 100% sure you get it back. Also for grading you want to see a uncompressed picture without any proxie. You want to be sure that what you see is what you get
 
dip said:
With DPX you still have your source code relation with the R3D files.
Click to expand...

You are right. As Offhollywood and Brenton said, with DPX the source info is contained in the meta-data.

offhollywood said:
I skimm'd this thread - so sorry of I am missing the concept here - but DPX holds the meta-data (time-code and reel#) - so .... not sure why you are talking about a "new edl". You can use the EDL right out of Avid or FCP (or any other NLE) on a DPX conform (as long as you created your DPX's correctly)
Click to expand...

Brenton said:
When the [DI box of choice] (Smoke in my case) loads the EDL, I then point it at the DPX files, it reads the 'Tape/Reel' & 'Timecode' from the DPX header & bingo!* one project conformed. *only a slight over-simplification of the ease of the process, but it's not that challenging :biggrin:
Click to expand...
 
dip said:
With DPX you still have your source code relation with the R3D files.
Click to expand...

Curran Giddens said:
You are right. As Offhollywood and Brenton said, with DPX the source info is contained in the meta-data.
Click to expand...

Metadata are just metadata, there are no information quality loss without them.

dip said:
Compression for recording is ok, but not for finishing and grading. With compression you throw away information and you're not 100% sure you get it back. Also for grading you want to see a uncompressed picture without any proxie. You want to be sure that what you see is what you get
Click to expand...

You probably don't know what Cineform is, find it out you'll be surprised.

BTW, working uncompressed doesn't mean you don't clip out information when you grade. That's simply misunderstanding.
 
i seriously dislike cineform. I'm going the normal dpx way. got lotsa storage. i had cineform for hd.. it hangs.. crashes... colors were off... jittery real-time playback.
________
SYNTHETIC WEED
 
It’s not likely that you’re going to be outputting your final project at 4K.
Click to expand...
above quote is from http://www.cineform.com/products/Tec...Prospect4K.htm
as mentioned by Curran in his previous mail

i really do not understand why cineform is saying to us : do not use 4K?
let say am am finishing my movie, and let say i am not satisfied with 2K output to film, and need to go 4K path. what then?

just curious.

filip
 
SIRAJ KUMKHE said:
Hi which version 1 or 1.5 ?
Click to expand...

Not sure what you mean, but if you are talking about PremierePro versions, I recommend that you move to at least 2.0 and the current release is 3.1 which will be the most fully supported version for Prospect4K work. This is a new workflow, so it will work with new software. An older workflow like DV may see few benefits from upgrading to a newer version, but 4K sure will. Better multithreaded performance is a big improvment between PPro 2 and PProCS3.


As far as outputing at 4K with the Prospect4K workflow, edit at 2K in Premiere, and import into After Effects to render at 4K to DPX or Cineform4K or whatever you want.
One time saving step may be to import the 2K project into a 4K Premiere project before going to AE, so that all of your sequences become 4K comps in AE automatically.
 
CineForm Prospect 4K is targeted for online work within the PC version Premiere Pro CS3, although we currently supporting PPro 2.0 also. 4K is coming to the Mac also.

Comment: the benefits of RAW are only lost if you clip leaving RedCine. If you don't clip and output the full dynamic range, pre-saturated image it doesn't matter whether you output DPX or CineForm 444, all the data is there.
 
I still see its unfair of Adobe to not allow RED get access to parts of its code to deliver the worlds next digital intermediate: redcode.
It's is such a shame that Adobe would allow cineform to do that, but not RED.

Apple has allowed red to make software for its fcs so that red footage could run natively on it. That is the right thing to do.
Adobe are freggin' a-holes.
________
VAPIR NO2
 
Akube said:
I still see its unfair of Adobe to not allow RED get access to parts of its code to deliver the worlds next digital intermediate: redcode.
It's is such a shame that Adobe would allow cineform to do that, but not RED.

Apple has allowed red to make software for its fcs so that red footage could run natively on it. That is the right thing to do.
Adobe are freggin' a-holes.
Click to expand...

Red has stated (numerous times) that they are working only with Apple and Assimilate for the time being. There is no point to name calling, especially when the party in question is not doing what you're accusing them of.
 
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