Experiment workflow - How to get rid of color bug -I hope

[Luca Immesi]

I was wondering if that was what you meant and that is cool that you can do that. Thank you for sharing your findings as always.

Thank you Kaku for the MXO playback finding. It is what I was looking for.

 

[Kaku Ito]

good good.

 

[Kaku Ito]

Luca,

I didn't really think about it but the wrapped QT holds R3D native data so when you are dealing with wrapped QT, you don't need the original R3D files, correct?

So between mac users, we can exchange in/out treated shorter than original wrapped QT files to exchange footage without loosing any RED native controls in Color? What do you think?

 

[Luca Immesi]

Luca,

I didn't really think about it but the wrapped QT holds R3D native data so when you are dealing with wrapped QT, you don't need the original R3D files, correct?

So between mac users, we can exchange in/out treated shorter than original wrapped QT files to exchange footage without loosing any RED native controls in Color? What do you think?

Sure, I think in the end if you want you can have a directory with only native files with in and out and that can be your source footage if you don't need to keep all the files of the rdm and exchange shorter files with others.

 

[brochtune]

Great find, Luca, thanks so much for posting it, this is what I've been waiting for! :w00t:

Ran into a snag though..

I'm having a terrible time trying to get a trailer into color; tried the EDL route, worked perfectly except for about 15 clips that were WAY off the reservation, ie. Color grabbing A077 instead of A165.

I'm running off of 5 fw800s and I know that the file structure might be a problem but don't have a clue how to fix it... or why Color is grabbing such random files...

I've tried XML but that was too buggy to be productive, and I can't use clipfinder because I'm running OSX 10.4.11:sad:

The clips that I was able to work with using the EDL method were gorgeous so I want to stay with it...I don't mind going clip by clip for the trailer but when I start to CC the 90 min feature, it's really going to become a pita...

Any ideas? :help:

 

[Luca Immesi]

Great find, Luca, thanks so much for posting it, this is what I've been waiting for! :w00t:

Ran into a snag though..

I'm having a terrible time trying to get a trailer into color; tried the EDL route, worked perfectly except for about 15 clips that were WAY off the reservation, ie. Color grabbing A077 instead of A165.

I'm running off of 5 fw800s and I know that the file structure might be a problem but don't have a clue how to fix it... or why Color is grabbing such random files...

I've tried XML but that was too buggy to be productive, and I can't use clipfinder because I'm running OSX 10.4.11:sad:

The clips that I was able to work with using the EDL method were gorgeous so I want to stay with it...I don't mind going clip by clip for the trailer but when I start to CC the 90 min feature, it's really going to become a pita...

Any ideas? :help:

The edl route it's really cool when it works. The problem is it has too much limitations. It works if you shot only on one drive, without audio, 16:9 etc. I wouldn't use for long projects. IMHO if you want the best quality (after Scratch) use the crimson workflow, I love it but for long project could be problematic or upgrade your OS and try clipfinder in conjuction with red allert and L&T.

 

[Harcharan Singh]

Color

Color

Hi,
Lucas.Your inputs are great.But finally can you post the best workflow with FCP,Crimson,Color.Will Color be a better software to deal with once FCS 3 is released and apart from realtime preveiw in Scratch is there any technical difference in handling of the Red Raw footage by Scratch and Color....ie quality wise.?

Thks
Harcharan

 

[Luca Immesi]

Hi,
Lucas.Your inputs are great.But finally can you post the best workflow with FCP,Crimson,Color.Will Color be a better software to deal with once FCS 3 is released and apart from realtime preveiw in Scratch is there any technical difference in handling of the Red Raw footage by Scratch and Color....ie quality wise.?

Thks
Harcharan

Read the posts of Michael Cioni:
http://www.reduser.net/forum/showthread.php?t=25762&page=2
http://www.reduser.net/forum/showthread.php?t=25300

About Crimson, watch the video online, you can output from redcine dpx or uncompressed files and then import in color or use ajadpxtoquicktimetraslator to import the files in fcp www.crimsonworkflow.com

About Clipfinder:
http://www.reduser.net/forum/showthread.php?t=22562

 

[thatgo]

The edl route it's really cool when it works. The problem is it has too much limitations. It works if you shot only on one drive, without audio, 16:9 etc. I wouldn't use for long projects. IMHO if you want the best quality (after Scratch) use the crimson workflow, I love it but for long project could be problematic or upgrade your OS and try clipfinder in conjuction with red allert and L&T.

I'm trying to get this EDL workflow to work and I'm running into the problem that others have had where Color can't seem to properly locate r3d files and mistakes their identities. However, my directory structure is pretty simple...

I think this footage was shot on a camera using Build 17, and I noticed that Red's 'Final Cut Studio 2 Installer' app only supports thru Build 16. Is this my problem? Any ideas?

 

[Luca Immesi]

Read the first post of this thread (update4).

 

[Birns and Sawyer]

Just so everyone knows, you don't have to use a specific proxy size. If you use the 1K proxies, it still sends to Color as 2K, so you can get better performance on a laptop or using slower external drives.

FWIW.

 

[Luca Immesi]

Just so everyone knows, you don't have to use a specific proxy size. If you use the 1K proxies, it still sends to Color as 2K, so you can get better performance on a laptop or using slower external drives.

FWIW.

In my experience in fcp M proxies from 4k footage work better than P proxies on a laptop.

 

[Tim Sutherland]

Yeah, that's what I use, M - 1K proxies from 4K, and then just send to color, no replacing necessary. It still goes as 2K read from 4K.

 

[Benjamin Rowland]

Luca,
Glad to see that, with the help of the members on this forum, this workflow really does work now. I've been away from the forums for a while - producing a new TV series - so it was a pleasant surprise to see that all the bugs have been worked out of this workflow. Many thanks to Hans for creating ColorFixer. You guys rock!