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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 :)

Anyone edited feature using r3d's

T

Troy Smith

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Just wondering if anyones edited a full length feature in premiere using r3d's, not
transcoding to cineform etc, and if so, was it smooth enough sailing, or does premiere
slow down as the project gets big.

Regards
Troy Smith
 
Troy Smith said:
Just wondering if anyones edited a full length feature in premiere using r3d's, not
transcoding to cineform etc, and if so, was it smooth enough sailing, or does premiere
slow down as the project gets big.

Regards
Troy Smith
Click to expand...

I know a couple of houses edited full length files in R3d. We have put a ton of work into large project and R3D workflows. There are some people on this forum doing big work that have had a lot of success with 5.5. Hopefully they might speak up on this thread.

Cheers
Dave
 
David McGavran said:
I know a couple of houses edited full length files in R3d. We have put a ton of work into large project and R3D workflows. There are some people on this forum doing big work that have had a lot of success with 5.5. Hopefully they might speak up on this thread.

Cheers
Dave
Click to expand...

Good to hear, sounds like it's totally doable then.
 
I have edited long documents with PPro CS5. The workflow is as follows: At first I cut a 1K sequence. Then copy-paste to a 4K sequence and color grade in RedCine-X. Once everything is ready use the dynamic link from AE and export everything from AE in 32bit mode. The only difficulty I've had is that in the 4K export the cross fade set in PPro causes the export to crash occasinally. The way around this problem, amazingly enough, was to change all cross fades to Cineform cross fades. That is, instead of the PPro native cross fade I employed the one which can with the Cineform codec.
 
Lauri Kettunen said:
I have edited long documents with PPro CS5. The workflow is as follows: At first I cut a 1K sequence. Then copy-paste to a 4K sequence and color grade in RedCine-X. Once everything is ready use the dynamic link from AE and export everything from AE in 32bit mode. The only difficulty I've had is that in the 4K export the cross fade set in PPro causes the export to crash occasinally. The way around this problem, amazingly enough, was to change all cross fades to Cineform cross fades. That is, instead of the PPro native cross fade I employed the one which can with the Cineform codec.
Click to expand...

Cool, how r u getting in and out of redcinex without manually doing it, or u manually bring each shot in and out of redcine?

THen manually editing the renders into premiere?
 
Troy Smith said:
Cool, how r u getting in and out of redcinex without manually doing it, or u manually bring each shot in and out of redcine?

Tnen manually editing the renders into premiere?
Click to expand...

I export an EDL from PPro to RedCine-X, color grade the corresponding R3D files, store the color grading of each R3D file into the associated RMDs (Red Meta Data), read the RMDs back into PPro and that's it. Consequently, the final export from AE is made from the R3Ds.
 
Well, are you looking to do an online or an offline?
 
Frank Cueto said:
Well, are you looking to do an online or an offline?
Click to expand...

We are looking at different options at moment, still not sure which way we going with grading etc,
just wanted to see which options are viable then make a decision.
 
Lauri Kettunen said:
I export an EDL from PPro to RedCine-X, color grade the corresponding R3D files, store the color grading of each R3D file into the associated RMDs (Red Meta Data), read the RMDs back into PPro and that's it. Consequently, the final export from AE is made from the R3Ds.
Click to expand...

Interesting, didn't know it was working like that yet.
 
I edited a feature length film on Premiere Pro CS4 using the raw .r3ds only... no transcodes... about 90 minutes in total run time. The footage was from a 2 camera, 30 day shoot. We edited in a 2K timeline. There was a crash here and there, but all in all it was nothing intolerable, considering we were on the bleeding edge of this stuff. We had over 200 dynamically linked AE comps in the timeline and did color correction using Color Finesse. After all was said and done, the project file was a staggering 250 megs. Funnily enough, I could .zip that file down to about 9 megs... so I chalked that up to inefficiency on Adobe's part of saving the file (or speed, I guess). It took about 10 minutes to save/open the project file... and the final export out of Media Encoder was over 24 hours. Now, keep in mind that was CS4. We were pushing the envelope, for sure. When CS5 came out, I loaded the project file up and it was a lot faster/smoother experience all the way around. CS5.5... I would have to image would be even better.
 
Coby Dax said:
I There was a crash here and there, but all in all it was nothing intolerable.
Click to expand...

Thinking out in loud; Just completed a wildlide document I shot fot three years. In total about 25TB of R3Ds and everything was cut with the latest version of Adobe CS5. Can't remember having a single crash of PPro. Had some issues with AE, but mostly due to my own mistakes. The operating system Windows 7 and all Adobe software is on a SSD and this made a big difference in the time needed to open PPro. Some of the timelapses contained more than 1000 16 bit 4K Photoshop PSD documents and it took some time to open them. After some experiment learnt to open no more than a few hundred PSDs at once.

Photoshop is not often mentioned aside with PPro and AE, but it can be very handy. In one landscape shot there was two people standing in distance. In the image they were tiny but definitely one was able to recognize them as human beings. Tried all sort of things with AE to remove them, but it was tricky. Eventually exported the corresponding frames from AE to Photoshop as 32bit PSDs, and removed the distracting details frame by frame using the Content-aware fill in 16 bit mode. Importing everything back to AE and PPro worked extremely smoothly.
 
Coby Dax said:
I edited a feature length film on Premiere Pro CS4 using the raw .r3ds only... no transcodes... about 90 minutes in total run time. The footage was from a 2 camera, 30 day shoot. We edited in a 2K timeline. There was a crash here and there, but all in all it was nothing intolerable, considering we were on the bleeding edge of this stuff. We had over 200 dynamically linked AE comps in the timeline and did color correction using Color Finesse. After all was said and done, the project file was a staggering 250 megs. Funnily enough, I could .zip that file down to about 9 megs... so I chalked that up to inefficiency on Adobe's part of saving the file (or speed, I guess). It took about 10 minutes to save/open the project file... and the final export out of Media Encoder was over 24 hours. Now, keep in mind that was CS4. We were pushing the envelope, for sure. When CS5 came out, I loaded the project file up and it was a lot faster/smoother experience all the way around. CS5.5... I would have to image would be even better.
Click to expand...

That is pretty cool! Any info on what it was?

Also the 250 mgs issue was a bug that we found working with Nelson Madison films (the link to the case study posted in this thread). Basically we were getting into doubling of the project size issue. If you reopened that in 5.0.3 or later and saved you should see it get much smaller.

Cheers

Dave
 
We have edited two 90 min features already all in r3d no transcoding whatsoever. Then color corrected in PPro and AE and finished in 2k. Everything went smooth and performance was incredible. No need to do any intermediate transcoding. Really my only complain is I wish we could access the RED dialog setting much easier by simply right clicking on the footage in the timeline. As of now you need to actually "reveal file in project" and then right click and then access the RED properties. It becomes tedious when you have hundreds of clips...
 
Hey there,

I love online (lets face it folks, this is online!) workflow.

CS5 took editing to a whole new level, and now CS5.5... and the new Final Cut X - I gotta say, I am glad Apple finally stepped up to the challenge. Not only do we get all native editing, but some of the innovations here are breathtaking.

Now lets see where CS6 takes us :)

Chau from Tokyo,
Ivan
 
"that is pretty cool! Any info on what it was?

Also the 250 mgs issue was a bug that we found working with Nelson Madison films (the link to the case study posted in this thread). Basically we were getting into doubling of the project size issue. If you reopened that in 5.0.3 or later and saved you should see it get much smaller.

Cheers

Dave
____

The film is called "Adventures of a Teenage Dragonslayer". Incredibly low budget, but very educational to work on. From the beginning we knew that to pull off all the editing & VFX in 8 months, we HAD to work with the raw footage. Transcoding would have killed the timeline. And considering we had over 200 VFX shots, the Premiere/AE dynamic link just mades sense. At the time, I only knew of two working options... Assimilate SCRATCH (about $50,000) and CS4 ($1800). I remember the executive producers (and many on down the line) laughing at us when we said we were gonna use Premiere. Actually, the Exec. Producers weren't laughing... they were concerned. The technology was so new... we were concerned, too. But what could go wrong? We didn't care what the tool was, we just needed it to work. And it did.
 
Hi guys I was just wondering, why is everyone grading in AE, cinex etc? What is wrong with native PPro 3 way color correction? Is there any reason why AE etc is superior to that?

Thanks
 
another question is when you guys who have done entire features in PPro are finished editing what do you render the final otuput file as? Which export options do you c hoose?
 
Peter Dmitriyev said:
another question is when you guys who have done entire features in PPro are finished editing what do you render the final otuput file as? Which export options do you c hoose?
Click to expand...

The 3-way color correction filter in PPro isn't nearly as powerful as Color Finesse.

We exported the sequence in PPro to a 16 bit .png sequence, and then made all the required deliverables from that. It crashed Media Encoder a few times, and we were able to start back up from where it left off. (This was still in CS4, so it wasn't quite as stable as it is now)
 
Coby Dax said:
The 3-way color correction filter in PPro isn't nearly as powerful as Color Finesse.

We exported the sequence in PPro to a 16 bit .png sequence, and then made all the required deliverables from that. It crashed Media Encoder a few times, and we were able to start back up from where it left off. (This was still in CS4, so it wasn't quite as stable as it is now)
Click to expand...
what program did you use to create deliverables from .png if you don't mind my asking? And which deliverables did you create, i.e. in what format, file extension codec, etc?

Also, why is PPro 3 way color corrector not as powerful as Color Finesse? Just curious as I've never used Finesse, what makes it more "powerful" ? ? Thanks!
 
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