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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

Did you export a single sequence or the entire project (i.e. exported the XML with no sequence selected) ?
If you have not tried the conform with the entire project, that might be worth trying.
If that does not work, can you mail me the XML files ?
Cheers,
Hans

P.S. One more thing to try: export XML, then re-import into new project (without going through Clipfinder). I've seen cases where that failed for some reason. Obviously, in such a case there's not much Clipfinder can do.
 
25 frames per sec?

25 frames per sec?

Oy... just noticed in the RED whitepaper that it says "this workflow tested with 23.98 and 24". Any idea if this should work with 25 frame RED media, and finishing in 1080p25?

Color sees the red files, enables the red room, but it never displays an image.

Am I hosed?

I supposed Plan B would be to use ClipFinder to re-render the source material into 1080p25 files (offline was done at standard Anamorphic PAL.)

Thanks for all your help Hans! (we solved the multi-clip issue by collapsing all the multiclips and making them "independent clips".)
 
What's the advantage of doing the one-light and transcoding to QT in Clipfinder versus RedCine or RedAlert?

How would you media manage the R3D files so that you've got a drive with just the shots in the picturelocked version instead of carrying around all of the raw footage?
 
Clipfinder is faster and more comfortable. Plus, it can re-conform the XML to the rendered files. Sounds like the perfect tool for you, doesn't it?
 
I am in the process of doing this and when I bring in the new XML everything is offline.

Here are my steps:

1 Exporting XML from FCP 7 of sequence
2. Import Clips from FCP XML into Clipfinder
3. Convert mov to R3d in Clipfinder
4. Conform XML to R3d in Clipfinder
5. Import newly conformed XML into FCP 7

All of the media is offline...any ideas?
 
I feel like I am missing a step. When I bring the newly created XML into FCP, I get an xml with the original files, no R3ds. Is there a point that I am supposed to "replace mov with R3d"?
 
Step by step. this method works and you will see the r3D in COLOR and in FCP.

Just follow the directions.

David
 
I have gone step by step and it comes back with no footage or the existing low res footage. I am sure it's something I am overlooking, Anyway to get somebody on the phone?
 
If you want to finish in Color the steps are
1. Export XML from FCP
2. Run conform on XML
Check "replace clips with H-proxy"
Check "set sequence width..." and set width and height to fit your material
3. Import new XML into FCP
4. Send to Color
5. Run ColorFixer

Let me know if you need more info.
My mail address is in the Clipfinder help pages (CMD-?).

Cheers,
Hans

curtis_liquid9 said:
I am in the process of doing this and when I bring in the new XML everything is offline.

Here are my steps:

1 Exporting XML from FCP 7 of sequence
2. Import Clips from FCP XML into Clipfinder
3. Convert mov to R3d in Clipfinder
4. Conform XML to R3d in Clipfinder
5. Import newly conformed XML into FCP 7

All of the media is offline...any ideas?
Click to expand...
 
Hans,

I have to interject. I know you wrote the software but if you check the "sequence size" button in Clipfinder, it will create problems. In order to go to color you need to RUN the XML open the resulting XML in FCP and CUSTOM set the sequence in FCP to 2048x1024 ( you can then change this in Color after FCP has sent the sequence to Color)

David
 
curtis_liquid9 said:
I have gone step by step and it comes back with no footage or the existing low res footage. I am sure it's something I am overlooking, Anyway to get somebody on the phone?
Click to expand...

Sure PM me and I will point you to a paypal link where you can buy an hour on the phone with me.

David
 
Hans-Georg Daun said:
If you want to finish in Color the steps are
1. Export XML from FCP
2. Run conform on XML
Check "replace clips with H-proxy"
Check "set sequence width..." and set width and height to fit your material
3. Import new XML into FCP
4. Send to Color
5. Run ColorFixer
Click to expand...

Hey Hans-Georg,
Doesn't the "H" proxy replace the clip with the 1024x576 file? I want to color grade with the R3D file. When I replace with R3D, it tells me it replaced it successfully, but then my media appears offline in FCP (it does point to the R3D file, but it's offline). When I try to manually reconnect it, the R3D file is greyed out - FCP isn't recognizing it as a 'movie' file. I have the REDCODE codec installed. (FCPv6.0.5; OSX 10.5.8; Clipfinder 2.1.16)

Couple of questions:
The XML exported from final cut is v4; is that correct?
During conform in CF, "reconnect via com.red.clip.originalsourcepath" is unchecked. Is that correct?
Upon import of conformed XML to FCP, I check "Reconnect to media files" and leave the sequence settings at "auto". Correct?

Obviously the workflow works, says all, so I assume I'm making a misstep in there. I'm rechecking the codecs, and will run this monday morning in a suite that has FCP7, OSX 10.5.8 and clipfinder 2.1.16 - or should we try the beta 2.2? I have no problem running the beta if it will enhance operability.

Thanks in advance for any help,
D
 
Hi Dan,

Replacing with any proxy will allow Color to access the original R3D file via the proxy.
The proxy resolution does not matter, Color will use the original R3D.

The "R3D" option in the conform settings was intended for taking an FCP edit into Adobe Premiere CS4, which can use R3Ds directly. The 2.2 versions make this more clear by naming the option "R3D (Adobe only)".

Regarding your other questions:
- XML versions 4 and 5 work fine
- there's no need to connect via "com.red.clip.originalsourcepath"
- yes, you check "reconnect to media files" and leave the sequence settings at "auto"

The beta version has many more features (see the help pages, CMD-?), but if you just want to take your edit into Color, version 2.16 will do what you want.

Cheers,
Hans
 
Beautiful Hans-Georg, thank you. I'll give it a try right now - or maybe after the kids go to bed.

Cheers,
D
 
Use Clipfinder with Redalert and render as Apple prores. It works pretty well for batch exports to that format
 
re: using offline 720 ProRes, 1/4 debayer...

Chris Kenny said:
This workflow has a few distinct advantages over simply transcoding all shot footage to 1080p ProRes and onlining:

1) The 720p ProRes files are about 1/3 of the size of 1080p ProRes HQ. This makes it easy to toss footage on an external FW drive and edit anywhere, or give the footage to a client to edit on their iMac or whatever, coming back to you for the final conform.

2) Transcoding at 1/4 quality to 720p ProRes is about three times as fast as transcoding at 1/2 quality to 1080p ProRes, so it's nice not to have to do the latter with every frame of footage you shoot. These 720p transcodes can be near real-time or better with a single 8-core Mac Pro.

3) The full range of data in the raw file is available during grading.

4) If there is an actual need for a 2K DPX or uncompressed HD deliverable, you can use the exact same workflow, and simply change the output format in Color. You can deliver in formats your system can't even play in real-time.
Click to expand...

I just wanted to second Chris on this. 720 ProRes (SQ), 1/4 offline all the way. At least for features. It keeps everything light, so media dupes are easy to copy and sync. Outputs are faster. Looks good too. Starting this workflow on another feature on Monday, this time going 720 ProRes LT.

While I'm at it, big thanks to Hans for Clipfinder, which is indispensable.
 
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