Big new release...

[Ryan B]

So I get my Red Scarlet and all ready to learn the WF and your telling me It's all new now. Timing couldn't be better..! =)

 

[Rob Ruffo]

What will be the most efficient way to move footage from Red Cine X into Adobe Premiere, so I can use Red Gamma3, Alchemy, etc? I am editing at 4K, so DPX is not really an option. It bogs my system down too much. Premiere cannot import EXR. I am on a PC so ProRes is not an option.

Cineform is great, and supported just about every software (but not by networks, unfortunately - so you still have to transfer to Prores or HdCam tape at the end for broadcast). I've found it pretty much lossless if you stick to the highest bitrates. About $135 or so. 10 bit.

 

[Zakaree Sandberg]

using alchemy negates the red rocket performance though doesnt it?

I've ran test and it seems alchemy took up some very slow render times..

 

[Stephen Gentle]

Sounds cool, can't wait to play with it.

+1 to Tom Lowe's questions. How do we get this in the Adobe workflow?

Knowing Adobe, I bet the answer will be 'Buy the next version of Creative Suite'.

Well as Jim said the SDK will be updated to reflect RG3/RC3 so ideally Adobe would update Premiere with a (dot) release to take advantage of the new color science.

Ha ha! If only...

 

[Michael Thornton]

using alchemy negates the red rocket performance though doesnt it?

I've ran test and it seems alchemy took up some very slow render times..

I wonder if Alchemy is a CPU or GPU process?

One of those two can slow your rendering down.

GPU or CPU?

 

[Yuval Shrem]

Cineform is great, and supported just about every software (but not by networks, unfortunately - so you still have to transfer to Prores or HdCam tape at the end for broadcast). I've found it pretty much lossless if you stick to the highest bitrates. About $135 or so. 10 bit.

1) Not everything is made for Broadcast
2) "Premium" is $299 for 12bit 444 and Cineform RAW (If it's for the big screen, 422 vs 444 makes a big difference. RAW support is also not something to ignore...)

*(Looks like their website is temporarily down right now, but I'm sure it will come back shortly).

 

[John Bannister]

This past weekend and as a complete newbie to working with Redcine-X I decided I love the application, it's workflow is naturally intuitive and what it can do with my footage is breathtaking. ....to think that this is about to get even better is incredible! This is why I remain a self proclaimed red fan. Awesome work team!

 

[Jarek Zabczynski]

I keep forgetting that I have a RED camera to use this stuff on. Everyday is like Christmas!

 

[Robert Berger]

I also have nxt to my Epic-x "ED" still Red One "FRED" does this work for my RED ONE too???

 

[Rob Ruffo]

1) Not everything is made for Broadcast
2) "Premium" is $299 for 12bit 444 and Cineform RAW (If it's for the big screen, 422 vs 444 makes a big difference. RAW support is also not something to ignore...)

*(Looks like their website is temporarily down right now, but I'm sure it will come back shortly).

That's true. Still, $299 is roughly $0 is the pro software world, especially if it solves a major problem.

 

[Alexander Ibrahim]

What will be the most efficient way to move footage from Red Cine X into Adobe Premiere, so I can use Red Gamma3, Alchemy, etc? I am editing at 4K, so DPX is not really an option. It bogs my system down too much. Premiere cannot import EXR. I am on a PC so ProRes is not an option.

ProRes plays back just fine on Windows. So, I'd say it is an option. I don't think there is a way to generate ProRes using Windows though.

Cineform should be an option - but I am hazy on the details because I don't use it.

If you are happy with image sequences, PNG has some lossless compression options that should prove satisfactory.

Also ... offline 2K editing in DNxHD with online conform to DPX may be more reasonable that you think. Its still a huge bandwidth hit on the system, but by the time you edit you should be able to have a lot less resources on your timeline and thus get better performance results. I don't know if that will be enough to tip your system into usable.

Just some scattershot ideas, maybe one will help.

 

[Rob Ruffo]

ProRes plays back just fine on Windows. So, I'd say it is an option. I don't think there is a way to generate ProRes using Windows though.

Cineform should be an option - but I am hazy on the details because I don't use it.

If you are happy with image sequences, PNG has some lossless compression options that should prove satisfactory.

Also ... offline 2K editing in DNxHD with online conform to DPX may be more reasonable that you think. Its still a huge bandwidth hit on the system, but by the time you edit you should be able to have a lot less resources on your timeline and thus get better performance results. I don't know if that will be enough to tip your system into usable.

Just some scattershot ideas, maybe one will help.

Cineform is great - very similar to Prores

 

[Kaku Ito]

Great, as usual. Thanks.

 

[michael zaletel]

Yes!

 

[Subhadip Sen]

I just saw Tom's post and it is amazing how much can change in just a few days. Premiere Pro has extensive EXR support now with the ProEXR plugin. With ffmpeg and Debugmode Frameserver now one can encode ProRes on any Windows NLE (incl Premiere Pro) and the latest beta Resolve for Windows features native ProRes encoding. There are GUIs starting to pop up for both Windows and Linux with easy ProRes encoding. (AnotherGUI for one) That said, I stay away from ProRes and the like unless a client forces it upon me. Of course, B44 EXRs are the way to go... Or PIZ EXR if not disk I/O restricted. Cineform MOV is buggy but Cineform AVI is a great option and well worth $299. Much more flexible and efficient (VBR) than DNx or PR. It is resolution unrestricted, so that enables 5K+ and it does save a bit of space over EXR. Still it is much more lossy than EXR, so I would only go for Cineform if severely disk I/O bottlenecked.