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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 :)

Build 15 Proxies w/ Build 16

zak forrest

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Will my 16:9 proxies shot with Build 15 now work when I get Build 16 going? Or will ONLY the new 16:9 proxies created with Build 16 work?

I ask because I have hours of 16:9 footage that I've put off on editing until the proxies work. But if they won't, I'll start downconverting them now..

thanks
 
If you convert in Redcine at the process setting of standard, you'll get an as-good-as proxie copy quality and a substantially quicker transcode time.
 
Yes this I know =] but thanks. I just really want to know if all my B15 16:9 proxies will play once B16 gets going. Whether or not I downconvert or edit or whatever, I just want to know.

I have soooooo much 16:9 footage that I have just shot for fun that I don't plan on editing right away since it's not part of any particular project, and I hope that soon I can just double click and watch them at my leisure..
 
build 15 footage works just fine in the build 16 software tools... Redspace of course is a little different, but in RA you can select standard build 15 REC709 colorspace and it will look just like your used to it " looking" before.. But a bit better with the additional benefit of the improvements made to the code since the last b15 code.
 
build 15 footage works just fine in the build 16 software tools...

Hmm, I'm sorry Jarred but that wasn't clear enough for me. Does this mean 16:9 proxies originated in Build 15 will work with 16's release? I know Jim has said before that 16:9 proxies will work with Build 16, but I still don't know if that means they will work if you created them with Build 16, or if the old Build 15 16:9 proxies will then work as well...

Redspace of course is a little different, but in RA you can select standard build 15 REC709 colorspace and it will look just like your used to it " looking" before.. But a bit better with the additional benefit of the improvements made to the code since the last b15 code.

Now THAT is a sweet piece of info. I was under the impression that Build 16's goodness only effected footage shot with Build 16. And yes I know you don't mean that Build 15 footage will look like it was shot with Build 16 (or do you?) but still, some kind of improvement sounds really awesome. Does this mean we should reprocess all our Build 15 footage that we have already done a final downconversion to when we get Build 16 going? Will it make the part of my project that is partly shot with Build 15 look a bit sweeter?

Thanks =]
 
Updates to Red Alert and REDCODE will continue to always improve.. and those improvements usually will improve on stuff you already have in the can, shot months ago.. Welcome to one of the wonderful benifits of REDCODE RAW...

As for the Proxy question.. I will let Rob give you the good news when he is ready to... :)
 
That's awesome.

Is there a difference between Build 16 originated footage and Build 15 originated footage put through the new Build 16 magic? I would think that it would make Build 15 better but not as good as if it originated on 16, but I'm hoping that I'm wrong.. =]
 
Build 16 footage shot in-camera on Build 16.. will be better than Build 15... no question about it.
 
Updates to Red Alert and REDCODE will continue to always improve.. and those improvements usually will improve on stuff you already have in the can, shot months ago..

So I should re-process all my Build 15 footage through the new B16 tools then, yes?

I know I don't have to, but if I did, there would be an improvement?
 
Yes to the proxy question. All our software is backwards compatible. So you will be able to load build 15 (or earlier) 4K 16x9 footage into RED Alert!, any QuickTime app using the REDCODE QuickTime codec, FCP Log & Transfer and Redline.

Older software will however not load files you shoot with build 16 (or later) firmware
 
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