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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 :)

Final Cut Real Time Playback of Proxies

N_Villers said:
Still disagree - try setting up a 1080 sequence - then drag a p or m proxy to the timeline and if you select yes it will go red and if no will still orange. Don't take my word for it... try it !!
Click to expand...

Will do. But it's late and I am tired.

My default is 720p rendered media then conform. I wrote off the whole proxy editing thing a long time ago. I have never found it to be stable.

David
 
N_Villers said:
Wrong. Exactly the opposite, you hit no when the prompt comes up.
Click to expand...

At which point FCP reverts to a default 29.97 timeline, and adds pulldown to your 23.98 footage, which you can't change without clearing the timeline.
 
Ok lets be more specific.

I use clipfinder.

1. import r3ds to clipfinder
2. in fcp set a sequence to 1080p - assuming an hd monitor - with the corresponding framerate - prores as codec
3. drag clips from clipfinder to fcp bin (1/8 or 1/4)
4. edit i/o points and or drag desired files to timeline (select no when asked to change settings) fcp will add a resize filter to change the clips to the hd dimensions
5. edit away
6. to online --> export xml and conform through clipfinder or go to color which will reconnect the native r3d files and only require a resize
 
Stephen Strangways said:
What has changed is not your system, it's the footage.
The very early camera firmware builds recorded footage that was much easier for Final Cut to play the proxies of in real time.
Then the R3D format got more complex, but a few builds had a "MAX" checkbox in the recording options that you could un-check, and get back to the older, more basic footage that Final Cut could play the proxies of in real time.
Current firmware builds do not have the option of disabling "MAX," so all footage shot with current camera firmware is virtually impossible for Final Cut to play the proxies of in real time.
Click to expand...

Stephen I appreciate your info, however....

I have noticed recently that the same footage that used to behave fine with QT wrappers (a.k.a. proxies) used in RT sequences (full frame rate, dynamic video quality) is now not working under RT and must be rendered.

Known variables are the QT REDCODE Codec, the OS X version and the hardware. We upgraded my system a few weeks ago to a much more powerful box, and I am actually getting worse performance working with QT proxies.

Has RED maybe changed something in the REDCODE codec for QT? Or is there something different about the OS X that is causing this?

This workflow has worked so beautifully for so long, I've cut over 50 spots with proxies... on-lining them with various workflows (like Crimson/Redcine/Color... etc.) Now it appears broken.

Any other input? Aside from use Premier... we have hundreds of legacy FCP projects... many many FCP workstations, not going to make that jump.
 
It sounds like this thread really needs a RED team member like Deanan or Rob Lohman to step in and let us know what's up with FCP or the QT driver.

Maybe it's a change to REDcode itself.

The proxy workflow, if improved, would be a MAJOR additional selling point to all the quote unquote perceived problems with RED workflow.

SHOOT>EDIT could be SHUT UP (I'm tired of hearing the whole easy prores thing)

David
 
Proxy use in FCP works fine.

Sounds to me like the FCP settings may not be right for unlimited.

I edited with proxies yesterday so I could send to Color and relink to R3Ds.

At first it came up red because the proxies had a non-standard frame size which messed with the sequence. As soon as I corrected this it came up orange and played perfectly.

I always have the sequence CODEC set to Pro Res.

Could it be as simple as sequence size and CODEC holding you back?
 
jimhare said:
Proxy use in FCP works fine.

Sounds to me like the FCP settings may not be right for unlimited.

Could it be as simple as sequence size and CODEC holding you back?
Click to expand...

My sequence is ProRes (proxy)... tried other ProRes settings. My data rate to the storage is super fast... it's not that. Matters not if it's 1080 or 720 timeline size (which we've always used in the past), it still drops frames. If I cut M proxy onto a timeline and let the clip override the sequence settings... RT is no longer even an option (as has always been the case).

So... I'm pretty sure something has changed... be it with the codec, FCP or the OS X build. I realize like most of us that this was never an officially sanctioned workflow from RED... but it always worked for me 100% of the time, frame accurately. Worked for others too. So what is the variable?
 
Audio maybe?

Could the red bars be 24-bit audio in a 16-bit default sequence?

David
 
David Battistella said:
Audio maybe?

Could the red bars be 24-bit audio in a 16-bit default sequence?

David
Click to expand...

Not on my end at least... I am getting the typical yellow bars like always... just dropped frames consistently, and there is no audio in the sequence.
 
It must be the damn app store. :)

Where you will be buying the next version of FCP ( the one that will perform miracles on a timeline) for 99 bucks.

Lol


David
 
Wait.

It just dawned on me. NAB. New FCP that supports 5k.

That's the big announcement.

You are all welcome. :)
 
but seriously... if a RED team member can comment that would be swell.

we all realize this was never a supported workflow from RED... but it always did work.
 
I just tested with some 4k hd footage and:

The "h" files are 1920x1080. I did a simple file import in fcp, then did a search filter for "_H" on my root folder to select all h proxies from a mag. Once in fcp I created a new sequence and loaded the prores seq preset. I then changed the compressor to prores 4444, set the frame size to hdtv 1080 and pixel aspect to square.

My rt is unlimited, video quality is dynamic and frame rate is full.

All of this gives me the orange rt render bar as opposed to the red. Build 31 mx footage.
 
Brandon Kraemer said:
we all realize this was never a supported workflow from RED... but it always did work.
Click to expand...

Brandon

I don't agree with this statement. It was actually the first piece of software that you could use natively and RED and Apple seem to have had a very decent relationship.

If it were not for FCP at the onset it would have been a very rough road as avid was not supported and premiere was not released.

To say RED never cared about apple is a big stretch. I mean where is assimilate and redcine now? Gonzo.

This is why I believe the timing is right for EPIC / FCP 5k, etc.

If anything there should be more of a move to RT in editing apps especially with Scarlett around the bend.

RED would be ignoring a lot of editing seats if they wrote off Apple and FCP and I doubt we would see that.
 
David Battistella said:
Brandon

I don't agree with this statement. It was actually the first piece of software that you could use natively and RED and Apple seem to have had a very decent relationship.

If it were not for FCP at the onset it would have been a very rough road as avid was not supported and premiere was not released.

To say RED never cared about apple is a big stretch. I mean where is assimilate and redcine now? Gonzo.

This is why I believe the timing is right for EPIC / FCP 5k, etc.

If anything there should be more of a move to RT in editing apps especially with Scarlett around the bend.

RED would be ignoring a lot of editing seats if they wrote off Apple and FCP and I doubt we would see that.
Click to expand...

Uh... I think you wildly misinterpreted what I said.

RED has said on this forum said they do not support using QT wrappers (often called proxies) created by the camera or software as sources for editing. RED's own white paper is what RED representatives will refer you to which does not outline working with QT wrappers.

Many of us have found that QT wrappers is in fact a good way to work. I am now having problems with this workflow, which is why I am posting here.

That is all I meant by unsupported. Nothing at all to do with Apple, FCP... vs. any other software company... never suggested anything about anyone not caring about anyone else, etc...
 
J. Eric Camp said:
I just tested with some 4k hd footage and:

The "h" files are 1920x1080. I did a simple file import in fcp, then did a search filter for "_H" on my root folder to select all h proxies from a mag. Once in fcp I created a new sequence and loaded the prores seq preset. I then changed the compressor to prores 4444, set the frame size to hdtv 1080 and pixel aspect to square.

My rt is unlimited, video quality is dynamic and frame rate is full.

All of this gives me the orange rt render bar as opposed to the red. Build 31 mx footage.
Click to expand...

But can you play with out dropped frames? I too get orange rt bars... but no rt performance.
 
Brandon

Cool. Fair.

I get what you meant now. It just seemed like it read the other way.

It's all good. I wasn't trying to pick at you.

Peace.
David.
 
Just as an update...

(and for the sports of it... LOL) working with H proxies on a short project. Works fine. After regenerating proxies with RCX...

Clipfinder is still a total neccissity in any RED workflow with FCP, btw...
 
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