Hi guys,
First time on this forum
This is my first Red Acquired Job. We have adapted a DPX workflow for our facility and it was a baptism of fire to convert. We tried different platforms and the fastest convert we achieved was on a RedCIne running on a Core Duo Mac Pro. Unfortunately we have no access to faster and newer mac pros in the market. In order to hit our deadlines we had 3 HP 8200 Dual Zeons and a Mac Pro to do the convert running RedCine. The experience was difficult, not impossible but difficult. for the HPs it was clocking at 15 secs per frame and with the mac pros around less than 2.
The video cards of the HPs were Quadro 3400 and the memory were 3gb
We have encountered converting to black frames where the original Raw files were not black at all.
We were able to, which much obsession and patience replace the black frames we re converted and to make up for it the renders Red Cine still kept the original filenames so it was an easy trace, but still painstaking. There was one time that one system was only outputing black frames even after a lot of restarts. Weird.
Why does this happen?
What would be the ideal macpro or pc setup that can do the job faster and less worrysome.
Being on a DPX workflow, we have to deal with different transcoding methods to convert to a proxy ( we pregraded all the shots using a Nucoda FilmMaster) then exported to our native DPX.
Our clients want to see a graded and close to final color during offline stages so its hard to just use the RED Camera generated proxies. Unfortunately we are running on avidXpresses for our offline suites. Our editors are pretty fast on these platforms and its hard for my editors to shift.
It will be costly if we look for DPX playback servers so we can ingest straight from servers. This is a dream at this point. Why dont we have nucoda working with the Red cams, there is a steady growth of the Nucoda graders out there in the market. I think everyone of them feels alienated.
To tell you honestly the images we got and graded were pretty impressive. We shot on 4k with Cooke S4 primes and the footage was great. The color latitude was impressive and pulling secondaries were not at all that difficult.
So I am super anxious to find solutions on transcoding/converting problems that decrease the stability of the system . I think Red should ask the help from Adobe, Avid, Digital Vision, and even XnView to be able to make a really tight workflow.
Right now while that whole Manufacturer standard cooperation mumbo jumbo is still in the works, I am looking for a dpx wrapper that is quick to wrap so I can just import that wrapper. This will decrease the step and make it a little more bearable.
Thanks
Dave
Ignite Media Inc.
Philippines
First time on this forum
This is my first Red Acquired Job. We have adapted a DPX workflow for our facility and it was a baptism of fire to convert. We tried different platforms and the fastest convert we achieved was on a RedCIne running on a Core Duo Mac Pro. Unfortunately we have no access to faster and newer mac pros in the market. In order to hit our deadlines we had 3 HP 8200 Dual Zeons and a Mac Pro to do the convert running RedCine. The experience was difficult, not impossible but difficult. for the HPs it was clocking at 15 secs per frame and with the mac pros around less than 2.
The video cards of the HPs were Quadro 3400 and the memory were 3gb
We have encountered converting to black frames where the original Raw files were not black at all.
We were able to, which much obsession and patience replace the black frames we re converted and to make up for it the renders Red Cine still kept the original filenames so it was an easy trace, but still painstaking. There was one time that one system was only outputing black frames even after a lot of restarts. Weird.
Why does this happen?
What would be the ideal macpro or pc setup that can do the job faster and less worrysome.
Being on a DPX workflow, we have to deal with different transcoding methods to convert to a proxy ( we pregraded all the shots using a Nucoda FilmMaster) then exported to our native DPX.
Our clients want to see a graded and close to final color during offline stages so its hard to just use the RED Camera generated proxies. Unfortunately we are running on avidXpresses for our offline suites. Our editors are pretty fast on these platforms and its hard for my editors to shift.
It will be costly if we look for DPX playback servers so we can ingest straight from servers. This is a dream at this point. Why dont we have nucoda working with the Red cams, there is a steady growth of the Nucoda graders out there in the market. I think everyone of them feels alienated.
To tell you honestly the images we got and graded were pretty impressive. We shot on 4k with Cooke S4 primes and the footage was great. The color latitude was impressive and pulling secondaries were not at all that difficult.
So I am super anxious to find solutions on transcoding/converting problems that decrease the stability of the system . I think Red should ask the help from Adobe, Avid, Digital Vision, and even XnView to be able to make a really tight workflow.
Right now while that whole Manufacturer standard cooperation mumbo jumbo is still in the works, I am looking for a dpx wrapper that is quick to wrap so I can just import that wrapper. This will decrease the step and make it a little more bearable.
Thanks
Dave
Ignite Media Inc.
Philippines