Midnight TOD Timecode Issue

[AnthonyFTMFW]

Hi Guys! I'm new to the RedUser forums, and I've tried searching for a solution for this issue but haven't had any luck. Hopefully a new thread can help me (and others who have the same issue) out.

I'm working with RED footage in a Final Cut Pro 7 to Color 1.5 workflow. I've converted all the .r3d files through FCP's L&T to Apple ProRes LT for an offline edit. Reading through the threads here, I've successfully managed to export an XML log of the timeline (fixed and reconformed to the original .r3d files, thanks to ClipFinder) to Color. I'm able to color correct everything, except one shot, which unfortunately, was shot over midnight, and thus, the TOD timecode was reset. Color freezes on this particular clip.

My question is, is it possible to get into the metadata of the .r3d file, and reset/rewrite the TOD timecode? I know there's lots of solutions out there for people who convert their .r3d to Apple ProRes 4444 or HQ or just Quicktime wrap (such as changing timecode to edgecode), but I want to work with the unadulterated .r3d files for the best quality possible.

What are my options here? Please help!

 

[Rainer Fritz]

you can not edit metadata in R3Ds...

 

[AnthonyFTMFW]

Hi Rainer! Thanks for your response!

And while I appreciate your time and response...dang

Well, considering my director wants to project this show at 2k or 4k at some point, should I then just put QT wraps on all the footage, and then make new ProRes QT's, and for the one clip that rolls over midnight, export that with edgecode instead of toc timecode? Will my FCP project go awry with clips of both TOC and edgecode timecode, in the event I transfer my project to color, then back to FCP, and export out in various formats?

Should I just rerender all the r3d files into AppleProRes files that use edgecode instead of toc timecode?

I know the easy way out is just to edit the AppleProRes files and not worry about the original .r3d, but the director and I want a workflow that will allow us to easily export in 4k when the time comes.

 

[Todd M.]

Hi Rainer! Thanks for your response!

And while I appreciate your time and response...dang

Well, considering my director wants to project this show at 2k or 4k at some point, should I then just put QT wraps on all the footage, and then make new ProRes QT's, and for the one clip that rolls over midnight, export that with edgecode instead of toc timecode? Will my FCP project go awry with clips of both TOC and edgecode timecode, in the event I transfer my project to color, then back to FCP, and export out in various formats?

Should I just rerender all the r3d files into AppleProRes files that use edgecode instead of toc timecode?

I know the easy way out is just to edit the AppleProRes files and not worry about the original .r3d, but the director and I want a workflow that will allow us to easily export in 4k when the time comes.

I'm not sure how complex your grade is, but if you are not doing heavy secondary work, why not just correct that single shot in RedCine-X? It's free and a fantastic tool.

 

[AnthonyFTMFW]

Ahhh, that's a good thing to keep in mind the next time I work on a RED project. However, unfortunately, there are some issues with some of the clips in this shoot (different from the one with timecode issues mentioned above) that will require secondary work, even some Color FX stuff.

Wrapping the .r3d file with a QT wrapper won't result in generation loss, am I correct? At this point, I'm just concerned whether or not there will be connection/send to issues from FCP to Color if one clip uses edgecode timecode, as opposed to TOD timecode like all the other clips.