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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 :)

Conform from ProRes to R3D

Tim Nicholson said:
So what are the pros and cons of using CLipFinder's XML round trip conform route, as compared to simply relinking the final edit sequence to the proxies (remade all in one folder by Red Rushes so it becomes do one, do them all)?
Click to expand...

The way I illustrated above is straight from RED and it works great. The problem with RED is to get a workflow that works and doesn't go through 15 3rd party apps to get it to work. Just my two cents.:beer:
 
Hans-Georg Daun said:
Kevin,

The current version of Clipfinder (even the beta) cannot yet conform with in/out points (in FCP).
It is high up on my list, but I cannot say when it will be finished.

Hans
Click to expand...

It would be really useful if ClipFinder could also remake the QTWrappers, then you can avoid having to run Red Rushes at all!!
 
Hans-Georg Daun said:
Clipfinder 2.2 can remake the QT wrappers.
Details are in the integrated Help Pages (CMD-?)

Cheers,
Hans
Click to expand...

Sorry Hans, I should have been more precise, for my workflow I remake just the required resolution wrappers, without the resolution extension, in a single directory, in the same way as RR allows. I cannot see how to do this in 2.2.

This way I have my "offline" rendered clips in one directory, and my wrappers in another. By simply relinking the final sequence to the new directory I get a "conformed" timeline I can send to Color (via ColorFixer)
 
reconform from 720p

reconform from 720p

OK - I get the RED paper's ProRes to Red workflow, but is that only viable if you're offlining in 2K files created through Log & Transfer?

I'm doing offline in 720p in QTs created in Red Rushes.

When I follow the described workflow and choose "Batch Capture" on my offline 2K sequence as directed, Log and CAPTURE window pops up, not Log and TRANSFER. Obviously, this does not help me...

What's the best way to reconform these 720p cuts to 2K for Color/R3D finishing?
 
David Jahns said:
I'm doing offline in 720p in QTs created in Red Rushes. [...]

What's the best way to reconform these 720p cuts to 2K for Color/R3D finishing?
Click to expand...

Hi, this is pretty much exactly what I'm doing. I offline everything to ProRes 422 720p using Clipfinder/Redline.

To conform, export the XML from FCP and use the Conform Feature of Clipfinder (Edit/Run Conform on FCP XML File), then reimport resulting XML to FCP. Works like a charm.


Bye,
Christian
 
Christian Foerster said:
Hi, this is pretty much exactly what I'm doing. I offline everything to ProRes 422 720p using Clipfinder/Redline.

To conform, export the XML from FCP and use the Conform Feature of Clipfinder (Edit/Run Conform on FCP XML File), then reimport resulting XML to FCP. Works like a charm.


Bye,
Christian
Click to expand...

Or instead of conforming using ClipFinder, make QTwrappers at 2k in one folder using Red Rushes, relink to that and you can go straight to color without any pre rendering. You need to use color fixer to overcome the looping bug in color when using Red QT wrqppers. This way the only render is after you have graded. (If you have lots of FX etc this may not be suitable)
 
Christian Foerster said:
Hi, this is pretty much exactly what I'm doing. I offline everything to ProRes 422 720p using Clipfinder/Redline.

To conform, export the XML from FCP and use the Conform Feature of Clipfinder (Edit/Run Conform on FCP XML File), then reimport resulting XML to FCP. Works like a charm.


Bye,
Christian
Click to expand...

Thank you - sounds perfect!
 
Not sure if anyone can help, but Color seems to be very sluggish when grading from the r3d files. We've done an offline in final cut using transcoded ProRes files, then gone through Clipfinder to conform to the proxies to go into Color for the grade. The ProRes files in the offline work fine in Color, but when trying to work off the r3d files it struggles. All the files are accessed over our RAID-5 Editshare. Im thinking it might be a system thing, but just wanted to see if anyone had this problem before or if its workflow related. Any help is appreciated.
Simon

10.5.6/3GB/2x2.66 Dual-Core/RadeonX1900
 
Simon Cox said:
Not sure if anyone can help, but Color seems to be very sluggish when grading from the r3d files. We've done an offline in final cut using transcoded ProRes files, then gone through Clipfinder to conform to the proxies to go into Color for the grade. The ProRes files in the offline work fine in Color, but when trying to work off the r3d files it struggles. All the files are accessed over our RAID-5 Editshare. Im thinking it might be a system thing, but just wanted to see if anyone had this problem before or if its workflow related.
Click to expand...

Do you have the Playback Proxy set to Quarter Resolution, and have Proxy Support enabled?
 
Simon Cox said:
Not sure if anyone can help, but Color seems to be very sluggish when grading from the r3d files. We've done an offline in final cut using transcoded ProRes files, then gone through Clipfinder to conform to the proxies to go into Color for the grade. The ProRes files in the offline work fine in Color, but when trying to work off the r3d files it struggles. All the files are accessed over our RAID-5 Editshare. Im thinking it might be a system thing, but just wanted to see if anyone had this problem before or if its workflow related. Any help is appreciated.
Simon

10.5.6/3GB/2x2.66 Dual-Core/RadeonX1900
Click to expand...

Did you fix the color bug with clipfinder?
 
thanks both for the reply. Id already ran the project through clipfinder to fix the color bug, but was still getting the sluggish performance. however, enable proxy support in color was unchecked.. and turning it on seems to have sorted the problem out, so thank you m for that. Id read the manual about using proxies, which suggests its only for cineon/dpx files and not for quicktime media, which is maybe why id overlooked it. Can i assume to get better performance in color when grading from raw data to always have this checked..? Ive read through hours of workflows for red/fcp/color and this is the first time ive come across this you see. thanks for your help
si
 
Simon Cox said:
Ive read through hours of workflows for red/fcp/color and this is the first time ive come across this you see. thanks for your help
Click to expand...

The proxy setting is mentioned in the RED FCP whitepaper. It boils down to:

Yes, use 1/4 proxies for grading and playback (1/2 for playback may be acceptable also).

It does behave differently for R3D sources than for DPX sources - DPX grading requires you to generate the proxy files beforehand, whereas R3D sources are just subsampled as required.
 
cheers cail.. ive just looked back through the whitepaper and seen in nice and clear. it has sorted the problem though, so thanks to everyone who helped.
 
Multiple Source drives?

Multiple Source drives?

In using Clipfinder's Conform XML, it gives you only one option for "Clip Directory".

If my footage is spread over 3 different drives from 3 different cameras, what are my options?

1) manually copy all the used RED footage from the 3 drives to a single source.

2) Create separate XMLs for A, B, C camera, run each through CF, then paste them back together in FCP, then send to Color?

(I'm using 55 shots in the cut, but they rolled really long takes, so copying the Raw footage will take quite a while.)

Any other options i'm not aware of?
 
David,

The beta version of Clipfinder 2.2 (available from my web site) allows for multiple Clip Directories.

If, for some reason, you do not want to use the beta, you can conform against one clip directory first, conform the resulting XML against the second clip directory, and so on.

Cheers,
Hans
 
Multi-Clips

Multi-Clips

continued from the previous post...

Also, the cameras were all synced as multi-clips.

Even after collapsing them, it appears the XML file retains that information, and Clipfinder sees the file path, and tries to put all of the camera angles into one XML output file. In addition to not being able to specify the output directory to all cameras, when I import the new XML file into FCP, it loses the sequences, and give me a folder full of multi-clips. Yikes!
 
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