I bought a new Mac Pro and I'm PISSED!!!

[Jörgen Persson]

Jorgen,

Did you render the files to ProRes422HQ in "log and transfer?" Have you ever tried the "native" option which is basically a QT wrapper around the REDCODE?

If so, was playback smooth?

I tried native and it worked but I experienced a lot of FCP crashes so I went the ProRes route.

 

[Brandon Kraemer]

My 2 cents... workflow issue.

1. Native mode taxes the processors big time. You need super fast drives and lots of ram to work like this, even then it's hit and miss.

2. Either transcode to Pro Res for your offline, or do like me... drag and drop your mag folders into FCP and edit with M proxies for your offline, using RT Unlimited (frame rate FUll, quality dynamic).

You can't expect to edit in 4K native on desktop systems, unless your talking about a $50k system like a Scratch. Offline/Online workflow is where it's at if you want to work professionally ~the $10k system price point.

 

[ChrisLyon]

Can't you log and transfer into ProRes 4x4 now? For some small projects (or ones that aren't crazy stingy over having every byte of data from the original REDCODE), this could render the need for using the REDCODE files or QT proxies mute. I've completed some heavy graphic projects out of AE using 32 bit mode- which would normally cause heavy banding on any other codec- to ProRes4x4 and it looks amazing.

 

[Greg M]

My 2 cents... workflow issue.

1. Native mode taxes the processors big time. You need super fast drives and lots of ram to work like this, even then it's hit and miss.

2. Either transcode to Pro Res for your offline, or do like me... drag and drop your mag folders into FCP and edit with M proxies for your offline, using RT Unlimited (frame rate FUll, quality dynamic).

You can't expect to edit in 4K native on desktop systems, unless your talking about a $50k system like a Scratch. Offline/Online workflow is where it's at if you want to work professionally ~the $10k system price point.

What he said.

First step is to read the new documentation fully before editing. I didnt notice you were trying to edit native in your first post, you are expecting way too much from your system. Either Prores or proxies are the correct route...or switch to Premiere Pro and edit native at a resolution your system can handle (you will need alot more ram though- 16gb min.), then render when finished.

 

[sander kamp]

"offline>My desire was to see, in full quality, the clips I am editing without having the render, and for what I see to be lossless, to never drop frames. I thought $10,000 and the faster Mac Pro available could get me there. I'm still not sure if I'm that far off. Thanks for you input Stefan.

Even if you get editing with the proxies to work, it will never be full quality. You might get 1k playback with your system and for every effect or even a simple dissolve you will have to render.

Transcoding to prores 1080p will give you a smooth, full HD preview and dissolves don't need rendering. For color grading there are ways to reconnect to the R3D files.

 

[Dustin Cross]

I really wish Red would remove the L&T workflow. It doesn't work and just causes problems. There is no benefit to using it.

Use Clipfinder or Redrushes or any of the other tools to make Prores offline files, then use Clipfinder to conform your edit back to the _H media and send the conformed _H project to Color. That gives you access to the original Red media in Color. Don't forget to fix the Color looping bug with Clipfinder.

Dusty

 

[Brandon Kraemer]

I really wish Red would remove the L&T workflow. It doesn't work and just causes problems. There is no benefit to using it.

Use Clipfinder or Redrushes or any of the other tools to make Prores offline files, then use Clipfinder to conform your edit back to the _H media and send the conformed _H project to Color. That gives you access to the original Red media in Color. Don't forget to fix the Color looping bug with Clipfinder.

Dusty

I think the L&T white paper workflow was designed to provide a all-in-one FCP solution for people that were clamoring for it, but it's far from the best workflow to use, and should not be considered the "gospel" for FCP workflow.

I cut with _M proxies, use Crimson and Redcine to transcode and roundtrip before finishing in Color. Monkey Extract, Clipfinder, RedAlert are very useful as well.

 

[Greg M]

I really wish Red would remove the L&T workflow. It doesn't work and just causes problems. There is no benefit to using it.

Use Clipfinder or Redrushes or any of the other tools to make Prores offline files, then use Clipfinder to conform your edit back to the _H media and send the conformed _H project to Color. That gives you access to the original Red media in Color. Don't forget to fix the Color looping bug with Clipfinder.

Dusty

L&T is a function of Final Cut...and it works fine.

 

[Justin O'Neill]

That's why I'm moving back to Premiere. I'm so tired of apple letting it's pro users down on RED. I just completed some stuff on PP and wow! Working directly with the r3d files off the RED drives, zooming into the 4k raw files, reframing, cc, linking to after effects and back - IT SIMPLY WORKS! And so much runs in realtime! The only thing I'm missing is FCP's smoothcam plugin. If you can, give PP a try you will be delighted.

Final Cut Pro is still behind Permiere CS4 and Vegas 9 as far as easy of workflow. Brian is right, with Premiere you drag and drop the R3D files onto the timeline and can view in full to 1/16 resolution. You are editing the R3Ds directly and can pull up the native RAW controls with a click of the mouse.

The only thing FCP has over these two programs at this point is Color.

 

[Leo Ticheli]

P.I.C.N.I.C.

Best regards,

Leo

 

[Brandon Kraemer]

P.I.C.N.I.C.

Best regards,

Leo

???

not familiar with this acronym Leo.

ah, like PEBKAC, got it.

 

[Joe Walker]

http://en.wikipedia.org/wiki/Picnic_(disambiguation)

 

[Michael Hastings]

P.I.C.N.I.C. Problem In Chair, Not In Computer