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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 :)

EPIC QUICKTIME PROXY??

Not yet.
But we are creating transcodes to Avid or ProRes Media and I think people dig it more than proxies.
With a RedRocket card you should be able to give them an express turn around.
 
I do NOT dig not having proxies.. I use them A LOT with the Red One so please Red, include this feature eventually...
 
proxies are great for a quick easy visual qc. u just load up a medium or low and scrub through it really quick to see if you have any corrupt frames. or when you really need to check if something will cut on set. always highly useful.
 
Out of curiosity, in the Red One, what is the resolution and/or compression used? Is it usable maybe for SD resolution screening?
 
Ken, what can of image do you get, I've never seen one. Is it very low compression, or could you get away with it, showing it on a 640x480 enviroment?
 
Love proxies

Love proxies

Ken Willinger said:
They are very useful in doc work for me, especially going through and transcribing long interviews. Would love to have that option on Epic.
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We like the proxies!!
 
Rick Darge said:
I do NOT dig not having proxies.. I use them A LOT with the Red One so please Red, include this feature eventually...
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I agree. Of course a Prores file is more handy, but the proxies were INSTANT. There's no substitute for that.

I just cut an entire feature with the proxies, then round tripped them through RCX and back to FCP7. Had I had to additionally make full-length Prores versions of every file before I could even start cutting, I'd still be rendering everything out.
 
is there going to be a module for proxies or is it going to be a firmware upgrade????? please make it firmware:(!!!!! CAN SOMEONE TELL ME PLEASE WHAT ARE THE ADVANTAGES OF HAVING A RED ROCKET CARD ??? I still dont understand what the red rocket card does??? please HELP TO INFORM !!
 
Jean Guerra said:
CAN SOMEONE TELL ME PLEASE WHAT ARE THE ADVANTAGES OF HAVING A RED ROCKET CARD ??? I still dont understand what the red rocket card does??? please HELP TO INFORM !!
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The Red Rocket is a hardware decoder card that goes into your computer and handles processing of the RAW files you shoot. It's capable of crunching that specific data at a very fast rate - what this means for you is realtime playback of 4K files and much, much faster transcoding of the files into other codecs than your CPU can. These days - especially with the increased data rates of the Epic - it's a pretty mandatory part of the RED workflow.
 
enrique blein said:
does anyone please have the compression spec of proxies please?
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The proxies are fractional debayers of the master footage. They come in P-M-H-F sizes and nothing above Medium is usually usable with current CPU's. Resolution is relative and depends on what size the material was acquired. I would say you can display 640x480 of the M proxies sourced from 4K - but it's not the best solution. Newer color sciences are totally fuzzed when playing though them. They are really there for offline in FCP on smaller projects, although some attest to feature length use. Truth be told, I don't use them anymore but I can see how others might.
 
Is there a way to generate the Proxies with Red Cine X? I have tried to eport proxies selecting Quicktime Wrapper as export format, the proxies show up in the R3D folder but wont play back, I only see a green or grey image - even after using the latest Final Cut Studio Installer to update the Quicktime Codec still wont play back. Any ideas?
 
Our postproduction workflow is also dedicated to the proxies. We are working with fcp/color and the M proxies.

When you send your fcp project to color you are working directly on the raw files and there is never a need for transcoding. You just work with the proxies (which you can update in redcine-x and they are being replaced on your timeline immediatly) and at the end you just render to high quality in color. You should do this last step in color. I would not advice grading and rendering the proxies in fcp, but some people do that.

I am working on the offline of a three year old project (original M sensor) and using the proxies and redalert to update them, works like a charm and is really fast.
Did the transcoding proces only once (took hours) and in the end I had to transcode another time, just to get the raw tab back in color. So transcoding two times vs. not. I choose not :-)
 
Kobe Van Steenberghe said:
Did the transcoding proces only once (took hours) and in the end I had to transcode another time, just to get the raw tab back in color. So transcoding two times vs. not. I choose not :-)
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The other huge advantage is that you're only transcoding the exact parts of the footage you need, not the entire files, bad takes, or anything else that won't ever be used. That's a ridiculous time savings. I never understood the "render everything to prores first" approach - even as an offline - because it's ridiculously inefficient compared to working with the proxies.
 
Pablo Villegas S. said:
Kobe, you can't use the same workflow with the Epic, even if it had proxies. Color does not support Epic R3d's footage.
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Well, I guess it is time to think about a new workflow...:sad:

Häakon said:
The other huge advantage is that you're only transcoding the exact parts of the footage you need, not the entire files, bad takes, or anything else that won't ever be used.
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Indeed! It would be nice to be able to edit with the proxies and only render the needed parts to new R3D files to work directly with in other color correction programs.
 
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