Welcome to our community

Be a part of something great, join today!

Log in
  • 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 :)

General questions

X

xavier_dg

Member
Joined
Oct 14, 2010
Messages
16
Reaction score
0
Points
0
Hi, how are you doing?

I am new to this forum and just about to start a project shot in red one. I have just finished my editing studies and I am a newbie when it comes to red one. I will be an editor assistant for a short film, and I find myself in a situation where no one knows the process when editing with red one material. So I have done a lot of research in the different workflows for this camera, but I still have some doubts I'd like to have resolved.
But first, my ideal workflow: I will transcode to pro res HQ and reescale it to 1920x1080 using Red Rushes. When the edit is finished I will have to reconnect everything to the originals R3D (in 4K, by the way). I have read that clipfinder is a good tool with which to do it, but here are my doubts:

-When I use clipfinder all I can do is reconnect to the camera proxies, I can’t reconnect to the native R3D. There is an option for R3D but it is only for adobe. What does it mean?

-Given that, I found out that when editing with proxies I can send it to color and the program reconnects directly to the r3d. Then I have to render a dpx and send it to the lab. Is that right? If so, what happens to any speed variation, transitions and effects done while editing? Also, what is the loop bug error I have read about?

-My next question is about a suposed 2k limitation in color. Can I grade to 4K using FCS 3?

-I have done the process using red one’s whitepages. I log and transfer to pro res. When I finish I media manage the sequence, and transfer everything to native. But all it does is another quicktime. I know Final Cut doesn’t read r3d, so what is the difference between those new quicktimes and the r3d?

-My last doubt could be related to my last question: wrapped r3d. I have read this term in a lot of sites, but I don’t know what it is.

Well… That is it for now.
 
Welcome.

– Red Rushes is outdated when it comes to newer camera firmware, use REDCine-X instead.
– If you are using Color to grade, it will automatically link to the R3D files if you feed it the proxies, yes.
– You can't use any effects or speed changes that way, but transitions will carry over if you render one DPX sequence for everything. So, you'll need to use ProRes 4 by 4 instead for effects you want to do by yourself instead of leaving them to a VFX department.
– The loop bug occurs with split R3Ds and can be fixed by Clipfinder.
– Color 1.5 can handle 4K.
– Use Clipfinder to re-conform, not Media Manager.
– Wrapped R3Ds are native files in a QuickTime wrapper. FCP can handle them, but editing these ain't what I'd call fun…

You will need to test your whole workflow carefully before getting serious.

What's your final delivery?
 
Thanks for the answers:

I am beggining in wednesday, so I still have a few days to establish my workflow. Regarding your answers:

-I will use red cine-x then. I guess it has a queue list to put all the clips.
-Loop bug: how exactly do I fix it? Is clipfinder the only way of doing it?
-I guess color won't reconnect to r3d if it is edited with proxies, right?
-Wrapped r3d: didn't want to edit, just to online the project. So my doubt still remains. Any difference between that and the original r3d?
-How exactly do I re-conform using clipfinder?

The final delivery is 35mm.
 
xavier_dg said:
-Loop bug: how exactly do I fix it? Is clipfinder the only way of doing it?
-I guess color won't reconnect to r3d if it is edited with proxies, right?
-Wrapped r3d: didn't want to edit, just to online the project. So my doubt still remains. Any difference between that and the original r3d?
-How exactly do I re-conform using clipfinder?
Click to expand...

There's a standalone utility out there somewhere to fix the looping bug, but if you're using Clipfinder, you might as well just use the built-in menu item.

Color will *ONLY* reconnect to the R3Ds if you feed it proxies. (Or L&T'd "Native" quicktimes, but that's a different ballgame)

The wrapped R3Ds *ARE* the originals. They're just stuck inside a Quicktime shell so FCP can read them.

As far as conforming with Clipfinder, I recommend doing a search for "Reconform Clipfinder". Not trying to be an ass, it's just that this has been discussed ad nauseum. And going through "exactly" how to reconform would be repetitious.
 
Don't worry, I understand that I am not the only one asking things answered in previous posts ;-)

What I am afraid I will insist on is in the practical difference between r3d and a wrapped r3d.
 
xavier_dg said:
What I am afraid I will insist on is in the practical difference between r3d and a wrapped r3d.
Click to expand...

From a technical perspective there's no difference whatsoever. The wrapped R3Ds *ARE* the original R3Ds.

From a practical perspective... In my opinion, the wrapped R3Ds don't make any sense. If you're using them from the start of the project, maybe, but then you're burning a lot of processor horsepower decoding them. If you're using any sort of proxy workflow, you're better off using Clipfinder to conform to the camera proxies (_F, _H, etc) and sending that sequence to Color. The end result is exactly the same and you'll save yourself a LOT of hassle in the edit.
 
Hans-Georg has good helpfiles for Clipfinder, plus David Battistella has published a step-by-step here in the workflow section…
 
Xavier,
Can you tell us your final WorkFlow, because I think there still a lot of people, including me, how are still working on there final WorkFlow.
Thanks...
 
I am working on it. Today I will post my final workflow.
 
So I will post my workflow on wednesday, better :-P.

Meanwhile:

When I send to color my sequence, once I have reconnected my sequence to the proxies, the timeline settings have to be in apple prores or in redcode?. Or does it make any difference at all?
 
xavier_dg said:
When I send to color my sequence, once I have reconnected my sequence to the proxies, the timeline settings have to be in apple prores or in redcode?. Or does it make any difference at all?
Click to expand...

You never want your sequence settings to be REDCODE, as it's a (nominally) read-only format. Set it to ProRes. That said, it really doesn't matter if all you're doing is bouncing to Color. Color more or less ignores that aspect of the sequence settings.
 
Ok. I will apply pro res, then.

What does it mean that it is a read only format? I mean, I understand what could that mean, but what use does that codec have?

As soon as I begin my project I will put the process so anybody can see what I do, and also to see if anyone stops by to say "hey, you are doing it wrong!" :001_tongue:
 
xavier_dg said:
What does it mean that it is a read only format? I mean, I understand what could that mean, but what use does that codec have?
Click to expand...

It's an acquisition codec. The R3Ds are all in RedCode. Makes sense to have the hardware write it on the camera. I have no idea why it shows up in the list of codecs available for sequences.
 
RED on the computer is a "dec", no codec…
 
Uli Plank said:
RED on the computer is a "dec", no codec…
Click to expand...

Heh. It's been so long since I've actually thought about the etymology of "Codec" that I stopped for a second and went "What the <BLEEP> does he mean?" :smile5:
 
Ok, so today I will have the r3d and will start the conversion to pro res hq 1920x1080 using redcinex. In this first process, is there anything whatsoever I should use, activate or grade for when I want to reconnect to the native r3d? I mean, while converting to prores, is there any necessary option to reconnect to the r3d once the edit is done? Or it all is done when the last cuts are finished?

My final process will be to use clip finder to reconnect to the proxies and then send the project to color.

The final output will be 35mm!
 
Assuming you don't change the filenames (Don't change the filenames! Ever!) you should be fine to do a clipfinder reconnect without doing anything fancy in RC-X
 
Thank you all for the help.

I already have the files... And came to a big and unexpected surprise: the proxies for the first seven cards are missing. I don't know what happened :-S
Is there any tool to recover them? If not, I will probably use log and transfer for those files so I can easily reconnect them to a wrapped r3d.

I have 600 gb of red material for a 1TB hard disk. I think I will go for pro res proxy instead...
 
You must log in or register to reply here.
Back
Top