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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 :)

CineForm Offers NEO 4K-Mac for Red Support (BETA)

Hi Cineforms,

sorry to say this but in this build playback in FCP on my machine doesn't work at all. I can playback nicely in QT, stuttery in Premier Pro, scrubbign in FCP but no play back in FCP - the last picture freezes the playhead runs.

I uninstalled the previous build and rebooted the MacPro.

Kind Regards,


Hans
 
If you have Digital Cinema Desktop Preview selected in the FCP Audio/Video settings, only the image on the external monitor is updated. FCP does not even request a decode from the codec for the timeline canvas. When you scrub, it requests a decode for the timeline (sequence) canvas, but not for the external monitor until you stop.

FCP can get confused if you change the Digital Cinema settings, and will act as if it is displaying on the second monitor, but not have it active. When this happens, you can scrub, but when you play, the play head moves but no image is updated. Deleting the FCP preferences fixes the problem.
 
CraigDavidson said:
If you have Digital Cinema Desktop Preview selected in the FCP Audio/Video settings, only the image on the external monitor is updated. FCP does not even request a decode from the codec for the timeline canvas. When you scrub, it requests a decode for the timeline (sequence) canvas, but not for the external monitor until you stop.

FCP can get confused if you change the Digital Cinema settings, and will act as if it is displaying on the second monitor, but not have it active. When this happens, you can scrub, but when you play, the play head moves but no image is updated. Deleting the FCP preferences fixes the problem.
Click to expand...

Craig, you are very knowledgeable person!

I give it a try.

Thanks a lot for your assistance,

Hans
 
Hi everyone

(We working with 4k Red Footage)

We set off a render last night from the R3Ds using Remaster, with Default HD444 settings. The only setting I changed from the default was to go from 444 to RAW. when we got in to check this morning, Remaster had stopped rendering after about 3 hrs, with only 30% of all the files complete so it looked like it crashed. Has anyone had a similar experience or is it just a bug?

Regards,
Chris
 
David Newman said:
Regarding : "We tried every possible setting concerning gamma curves, be it Camera RGB, Redspace, Rec709, what ever. We always got the same output."

You should see slightly differing color saturations for the different color matrices between Camera RGB, Redspacec and Rec709. The encoding curve is much more subtle if you set a decode curve to R-Space, all you doing it can the balance of shadow precision vs midtones and hightlights. If you set "Match Encoder" you should see the differing curves as a shift in grey point.
Click to expand...

David,

If I understand you correctly you don't make any use of the camera's metadata.

This means (I'm assuming):

By using Log90, Black 40 and Match Encoder my footage gets encoded with a fixed log curve retrieving as much information as possible from RAW to RGB without hovering but still uncrushed blacks. This log curve is not metadata but the applied WB is metadata. The WB is designed by your encoder to please the audience's eyes. However, in 444 mode I can change the WB metadata with your SetActiveMetadata app. on individual clips. Furthermore, if I use .look files I can not only change WB but also contrast, etc... all metadata.

Am I right?

I'm asking this because if you have an automatic WB mode installed in your encoder, intentionally off-white-balancing using filters or just light would be leveled. There are many reasons why an automatic WB is not desired. May be my research concerning ReMaster was not thorougly enough and all is much easier...

BTW, I'm with you regarding RedAlert's ISO setting. By setting the metadata to 250ASA in camera or in RedAlert one comes closest to a meaningful histogram when not underexposing too much.

The latter case, however, must be pushed anyway. Does it matter in terms of noise at which stage I push the footage - before encoding or later, after encoding when all footage is RGB?

Hans
 
We do use store all the cameras metadata, and we do use the camera's whitebalance to set to starting point for Active Metadata based white balance. We don't do any auto whitebalancing. We do ingore ASA is it is destructive to cook in the wrong ASA, we flatten any in-camera S-curve, as we want start will a linear signal before reapplying an encoding curve. Basically we are going everything we have learned of the years when record from other bayer/raw cameras, and what we will do if the RAW port was every released for Red One.

If an image needs to be pushed, the Log curve is designed to protect you shadows for exactly this purpose. Push in post without worry.
 
David Newman said:
We do use store all the cameras metadata, and we do use the camera's whitebalance to set to starting point for Active Metadata based white balance. We don't do any auto whitebalancing. We do ingore ASA is it is destructive to cook in the wrong ASA, we flatten any in-camera S-curve, as we want start will a linear signal before reapplying an encoding curve. Basically we are going everything we have learned of the years when record from other bayer/raw cameras, and what we will do if the RAW port was every released for Red One.

If an image needs to be pushed, the Log curve is designed to protect you shadows for exactly this purpose. Push in post without worry.
Click to expand...

Thanks!

You use the camera's metadata for WB. That's pretty resonable. If I want to change WB I can use SetActiceMetadata. Good workflow.


I assume I fully understand your way of doing things and find it very meaningful. Nevertheless if I may humbly suggest: You need an easy to understand website with an even more easy to understand white paper. I dont't consider myself extremly super-thickheaded but it took me some time and questions to understand what you are doing to make a high-end workflow with considerably small files possible for the RedOne.

Loving you stuff,

Hans
 
Hi, anybody not able to import .R3D's into reMaster? Everything is greyed out when I try to open files. Must be doing something wrong but not sure. I've tried footage shot with build 15 and 16. Neither one of them allow me to import.

This happening to anybody else?
 
I'm using remaster to make a thousand express1k files but no issues.
 
ReMaster processes the RCD folders. If it is easier and more normal to process the R3D files, this can be added.
 
Hey there,
We have used ReMaster on our new footage and the previous PC version for a couple of previous commercials. We haven't had a problem with creating express files from Remaster
-Ross Webb
 
There is an issue when shooting with Red that is somewhat related to ReMaster, better ReMaster can help to solve this:

Red has a WB knob (actually 2) that gets hit accidentally while shooting. But many like me prefer to see the native 5.000K of the sensor.

It would be great if there would be a "native sensor" setting which would be in RedAlert 5.000 Kelvin. Is this possible?

Regards,

Hans
 
Is the dust finally settled on the 5000 vs 5600K judgement.

Both these numbers have come up, and I have been rather happy with the 5600 setting...
 
Hi Gunleik,

shooting in a 5.600 K environment makes the blue channel clip a tad earlier. 5.000 K delivers the most even WB. Although I admit that setting in RA 5.600 K in a daylight environment delivers the more pleasing image. For technically best DR one should use a light CTO to match the 5.000K of the sensor in a 5.600 K location. In reality we all skip this.

Hans
 
CraigDavidson said:
ReMaster processes the RCD folders. If it is easier and more normal to process the R3D files, this can be added.
Click to expand...

Craig, it would be brilliant if you just activate a folder and down the folder-tree ReMaster is searching for R3D files. This would be very convenient. For example with one click you could load all shots of a day at once. With your current structure it can be a bit tedious. If I remember correctly ReRushes is doing so.

Hans
 
Slightly OT:

I just purchased Neo-Mac4K. I'm a bit under time-pressur and Cineform's workflow is bound to safe me time on a particular project I just finished shooting. In an e-mail of yours it states that in 24-48 hours I get my activation Key. Could you speed this up?

Kind Regards,

Hans
 
Hans von Sonntag said:
Slightly OT:

I just purchased Neo-Mac4K. I'm a bit under time-pressur and Cineform's workflow is bound to safe me time on a particular project I just finished shooting. In an e-mail of yours it states that in 24-48 hours I get my activation Key. Could you speed this up?

Kind Regards,

Hans
Click to expand...

Email support.
 
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