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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 :)

Holiday Update + IPP2 Preview Build

Scot Yount said:
Yes it does. I told you that in the other thread that you started on this subject. I have the exact same setup software wise and it works great. Your problem seems to me to be hardware related. My GPUs btw are also AMD, the D700 cards, but AMD nonetheless.

EDIT: And to reiterate here, it also works on my stinking old MacBook Pro from early 2011.
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hi Scot, check the picture attached I dont have AMD
 

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Luca Volpe said:
hi Scot, check the picture attached I dont have AMD
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Neither does my MacBook Pro. And it works fine. As Phil said in the other thread, this could be RAM related. Take your machine to Apple and have them test it. You said Sierra and the latest FCPX don't work with Helium. I am telling you that is incorrect, because it works for me on the laptop and the cylinder.
 
Luca Volpe said:
Ok Thanks, I am talking with Apple, but they seems don't understand...lol...
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Talking likely won't help. I know it is a pain, but you need to take the machine to an Apple Store, or send it in I think.
 
question, my footage still imports to rcxp and fcpx as d2/g4, must be doing something wrong
steve
 
so I guess the question is, why use ipp2 in camera if it can be changed in post to ipp2 anyway? The trade off of not having raw toggle doesn't seem to make sense, or am I missing something very basic here

steve
 
Steve DiMaggio said:
so I guess the question is, why use ipp2 in camera if it can be changed in post to ipp2 anyway? The trade off of not having raw toggle doesn't seem to make sense, or am I missing something very basic here

steve
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So the in-camera preview is showing you how IPP2 will look, not how it will work. The full implementation of IPP2 in camera is implemented very differently and it allows us to offer more features and functionality than you see in the preview. It's also very important to have the look right in camera as it's people's first view of what they're shooting and that visual memory creates a lasting impression of how thing should look through post and to the finished product.

Graeme
 
so when the full version comes out it seems like there is more to it, as of now though, anything that is in camera also is mirrored in post, correct? I really love the raw toggle since I do so much low light stuff. Just trying to get a full grip on everything, I have an event in 11 days I am shooting for new years and want to make sure I have all my stuff buttoned up. Have shot 100 hours on the Epic-W on .73 and know all the ins and outs ect

steve
 
Steve DiMaggio said:
so when the full version comes out it seems like there is more to it, as of now though, anything that is in camera also is mirrored in post, correct? I really love the raw toggle since I do so much low light stuff. Just trying to get a full grip on everything, I have an event in 11 days I am shooting for new years and want to make sure I have all my stuff buttoned up. Have shot 100 hours on the Epic-W on .73 and know all the ins and outs ect

steve
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Do you really want to risk your next project on the new firmware? I'm really excited about what I'm seeing, but for two commercial projects I have for the new year I don't feel comfortable using the new FW yet.
 
Todd G. Peterson said:
Do you really want to risk your next project on the new firmware? I'm really excited about what I'm seeing, but for two commercial projects I have for the new year I don't feel comfortable using the new FW yet.
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I don't that is why I am asking questions for sure, I have done some tests and I don't see any issues regarding anything yet, but the main thing is that all the preview does can also be applied in post, I would probably dial back, I always have a couple spare cameras with me though so that does ease my mind if there is an issue

steve
 
Sounds like a reasonable approach. I'm dedicating a big part of my holiday next week to testing in a broad range of situations. That will help me get used to the new FW and IPP2, but I wish there was a beta of Resolve and other tools that supported IPP2. Then I could hit the ground running when end of Jan comes, or even feel confident to shoot stuff with the preview now.

Please keep us posted on your findings, and I'll add my learnings as well.
 
Steve DiMaggio said:
so I guess the question is, why use ipp2 in camera if it can be changed in post to ipp2 anyway? The trade off of not having raw toggle doesn't seem to make sense, or am I missing something very basic here

steve
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Think of the case where you might only record ProRes and not R3D. IPP2 in camera becomes very important in this case.
 
i'm 100% r3d, but I do understand the need for that if going to prores, my b/c cameras are pro res only, but not RED

steve
 
I did a shoot over the weekend with the new firmware installed (yes, I tested it out before production, I didn't go in unprepared ;) ). For previewing, in order to show the director what I was creating with the lighting, I added a mile S-curve on camera. In post, although the beta of RCX was giving me some very wonky previews which I haven't had time to investigate yet, the latest release version shows it fine. I just had to select RWG and Log3G10, it read the curve from the metadata, and I ended up with pretty much exactly what I'd previewed on set.
 
Steve DiMaggio said:
i'm 100% r3d, but I do understand the need for that if going to prores, my b/c cameras are pro res only, but not RED

steve
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Me too! But I recall someone recently only shooting ProRes and experiencing clipped colors on a project. While I am sure Red would love everyone to shoot R3D only, there are those that don't/won't/can't.
 
My plan "A" is always to shoot R3Ds at between 5:1 and 8:1 compression (depending on specific situation), plus a ProRes LT "proxy" if desired.

Some producers designate ProRes as the hero media, so a Plan B that gets the most out of those ProRes files becomes important - no matter what I think.

I look forward to IPP2 on camera as a superior authoring environment for ProRes only workflows where there is no proper color pass, just an editor and whatever grading tool is in their NLE. I also echo Graeme's note about the advantages of the on set monitor look closely matching the final product.

Cheers - #19
 
Stacey Spears said:
Me too! But I recall someone recently only shooting ProRes and experiencing clipped colors on a project. While I am sure Red would love everyone to shoot R3D only, there are those that don't/won't/can't.
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That was probably me.

IMO it's a win-win for us as Red camera users. It improves our ability to show producers and directors what we're creating on set, and it allows to serve customers who really just want and edit + render workflow in post.
 
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