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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 :)

Crimson + Monkey Extract

Hi Zak,

The monkey workflow for this is to edit proxies, then export an XML of the timeline, load it into Monkey Extract, and render Pro Res.

There are two methods. You can choose to render only the frames used, so the rendered prores will be small clips for every cut. Monkey extract will generate a new XML which can be loaded into Final Cut and reconnected, XML points at the new correct files.

Alternatively you can render entire clips with the same names as the originals, and just reconnect them to the original timeline. Be sure to save the project as a new copy first.

The first method is faster, the second is 'safer'.

Hope that helps.
 
Hi Zak

Depending on your system you can also import the red native footage into your system, using the new log and transfer tool in FCP. In my system/experience the performance is similar to using the medium proxies, and then all you have to do is render your sequence to apple pro res using the 4:4:4 chroma subsampling and the 10 bit render setting.

Cheers,

arapro
 
Zak - RED Alert!/RED Rushes is a way faster transcode than REDCINE (but I like the controls and speed of working "IN" RC way better).

Crimson still works great, Ian's working on something new...
 
zak forrest said:
lookin forward to whatever that is ian. any APROX eta on this new thing?
Click to expand...

Well... forget the new thing for a second. It's very cool but not ready.

Since you already bought Crimson it seems like it can do what you need:

Transcode all of your _M proxies to ProRes using compressor or RedRushes. Cut those.

then:

Take your Sequence XML into Crimson. Match back to the RAW files. Export the Raw files from Crimson as 1080p DPX files using RedLine.

then:

Make an EDL in Final Cut Pro, Import the EDL into Color and use it to conform the DPX files. Color correct the files in Color and send them back to Final Cut Pro in the Quicktime Codec of your choice.

I'm in D.C. for the holidays anyways so we should grab a beer if you are around.

Cheers,
Ian
 
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