Monkey Extract Questions

[Monty Bass]

Sure. Thanks again.

 

[Kaku Ito]

Using edgecode

Using edgecode

Hello Nigel,

Now it's time for me to use Monkey Extract since I received an EDL from a client with Avid.

Please let me know, if this workflow is right or wrong.

1. Throw all of the R3D files into Redrushes, render as HD clips.
2. Place the rendered HD clips on FCP timeline, starting at 1.00.00.00.
3. Assuming I don't have any frames skipped in the clips, the rec. time code on the FCP timeline should be identical to the edgecode.
4. Mater to tape then provide the HDCAM tape to the client.
5. Client edits using the tape with Media Composer.
6. After edits are cut, I get the EDLs back from the client.
7. Using Monkey Extract, use the rendering function by using the EDL files and conform with the original R3D files with edgecode, then render to wrapped QT.

If this works, how can I create a XML file for FCP so the wrapped QT gets conformed with the edited EDL?

 

[Nick Shaw]

…Using Monkey Extract, use the rendering function by using the EDL files and conform with the original R3D files with edgecode, then render to wrapped QT.

I'm not in my office so have not got access to my copy of Monkey Extract, so I could be wrong, but can it do that? I thought Monkey Extract could only render self contained QuickTimes or DPXs, not wrapped QTs.

If you are looking at doing this so you can get a native time-line into Color, have you tried importing an Avid EDL directly into Color?

 

[Kaku Ito]

Hi Nick,

Is QT wrapper and Wrapped QT different? The latest version does have a choice to render as QT wrapper.

At least, I was able to copy all of the clips used in the EDL by using the edgecode. That is quite nice. But I wasn't able to render wrapped QTs. So, for now, I'm manually conforming with the original timeline by double clicking the clips in the timeline from EDL, copy the in and out points at a time, go to the original timeline and locate the in/out points, then copy and place the proxy clip with the in/out points on the EDL timeline. If I can do this manually, there should be a way.

 

[Silke Zirnite]

Hey guys,
i have a question about setting the gamma in Monkey extract. How can i do this if i need to set the gamme to rec709. I know this from Redcine and Crimson, but how does it work in monkey?

 

[Nigel Stanford]

Hello Nigel,

Now it's time for me to use Monkey Extract since I received an EDL from a client with Avid.

Please let me know, if this workflow is right or wrong.

1. Throw all of the R3D files into Redrushes, render as HD clips.
2. Place the rendered HD clips on FCP timeline, starting at 1.00.00.00.
3. Assuming I don't have any frames skipped in the clips, the rec. time code on the FCP timeline should be identical to the edgecode.
4. Mater to tape then provide the HDCAM tape to the client.
5. Client edits using the tape with Media Composer.
6. After edits are cut, I get the EDLs back from the client.
7. Using Monkey Extract, use the rendering function by using the EDL files and conform with the original R3D files with edgecode, then render to wrapped QT.

If this works, how can I create a XML file for FCP so the wrapped QT gets conformed with the edited EDL?

I'm assuming you want to finish in FCP. You could import the Avid EDL into FCP, and then reconnect to the rendered media. You'd want to test this however.
I would have thought a simpler workflow would be:
- render using red rushes, import that media into Avid directly
- export EDL form avid, render footage with it
- reconform in FCP

 

[Nigel Stanford]

Hey guys,
i have a question about setting the gamma in Monkey extract. How can i do this if i need to set the gamme to rec709. I know this from Redcine and Crimson, but how does it work in monkey?

Hi Silke ,

The gamma settings are found here:

Home > Render > Edit Render Settings > Color and Gamma tab

 

[Kaku Ito]

I'm assuming you want to finish in FCP. You could import the Avid EDL into FCP, and then reconnect to the rendered media. You'd want to test this however.
I would have thought a simpler workflow would be:
- render using red rushes, import that media into Avid directly
- export EDL form avid, render footage with it
- reconform in FCP

I wish all of the clients accepts clips by file, but some of them don't even want to change anything, so working with the tape broaden the market for sure.

 

[Nigel Stanford]

I wish all of the clients accepts clips by file, but some of them don't even want to change anything, so working with the tape broaden the market for sure.

True! Just make sure to test the whole process first so you don't have any nasty surprises

 

[Mikel]

hello,

here's my setup, to be followed by the problem:

offline in FCP > monkey extract to dpx > DS conform and grading


When I export the EDL from FCP, the source names are shortened.
I need my EDL source names to match the rendered .dpx images,
and not just their containing folder name. What to do?


example of the EDL

TITLE: VFX ROUND 2 09APR09
FCM: NON-DROP FRAME
*FCM: DIGITAL TV 24P

001 A036C005 V C 01:54:25:18 01:54:42:10 01:00:00:00 01:00:16:16

* FROM CLIP NAME: A036_C005_09309W.MOV

FINAL CUT PRO REEL: A036_C005_09309W REPLACED BY: A036C005

everything seems to be working with monkey extract, but this EDL doesn't point to the right spot. I could spend an afternoon cutting and pasting the proper files names into the EDL, but that wouldn't be much fun.

any help is appreciated.

 

[Mikel]

okay..... I think I figured it out on my own.

the deal:

export XML from FCP > run XML though Monkey Extract > import new "____for grading" XML back into FCP > export OMF with AutoDuck > import into DS

by avoiding any kind of EDL, I've manged to keep the source file names as they should be.

 

[Nigel Stanford]

okay..... I think I figured it out on my own.

the deal:

export XML from FCP > run XML though Monkey Extract > import new "____for grading" XML back into FCP > export OMF with AutoDuck > import into DS

by avoiding any kind of EDL, I've manged to keep the source file names as they should be.

Hi mikel,

The EDL short name issue isn't a problem for Monkey Extract, which can find the correct red files. The biggest limitations for EDL are the number of video tracks etc. However getting rendered footage into another platform can be an issue. XML sounds like a good solution.

 

[Mikel]

yep, monkey extract processed everything fine, but the EDL clip names didn't match the rendered DPX files, which made the import paths useless (obviously, because the file names didn't match what the EDL wanted)

live and learn.

my only complaint/suggestion so far would be to give more options on the crop tool.
I had to do a blowup of 6% and it would have been nice to be able to work with percentages.

 

[Nigel Stanford]

yep, monkey extract processed everything fine, but the EDL clip names didn't match the rendered DPX files, which made the import paths useless (obviously, because the file names didn't match what the EDL wanted)

live and learn.

On the render settings tab, you can specify the output naming conventions for the DPX files. So if the output EDL was A001C001 for reel, you can output file names in all sorts of formats. e.g.

/A001C001/A001C001_1234567.dpx
/A001/A001C001_1234567.dpx
/A001C001/1234567.dpx

etc.

 

[MrHopkin]

Using a "global" RSX-file to add saturation all extracted files

Using a "global" RSX-file to add saturation all extracted files

Hi,

I´m working with a DOP that would like to see some tests where we add
a slight saturation boost when extracting dpx files from r3d.

In Monkey Extract there is no "saturation" field to add more saturation
in the "Color and Gamma" tab.

I´ve made a RSX file with a sat-boost, and applied this to the "Use this RSX for everything" option, and turned off "ignore color matixing".
There are hardly any differences, even with extreme sat-values, expect that the white balance changes. In RedAlert the sat-boost is easy to see.

What I´m after is an image that is pretty much "untouched" but with a slight saturation increase. I´m using CameraRGB / REDlog.
This "setting" will be used for a full feature.

Am I doing someting wrong here?

Any feedback would be greatly appriciated

// Dylan
www.dylanhopkin.com

 

[Craig Herring]

Monkey Extract Saturation settings

Monkey Extract Saturation settings

The RSX should be applied correctly.
If not, can you please send a screenshot of your color & gamma settings to support@rubbermonkey.co.nz and I'll take a look.

We are currently in the process of adding the additional color and curve settings to Monkey Extract (this includes saturation) so you'll soon have more options to deal with this.

 

[Chris Parker]

hey craig,

sorry if this has already been answered, but when rendering out avid dnxhd files, are these native MXF AVID files, or QTs that still need the 'fast import' into an AVID?

 

[John Jonathan]

Hey Nigel Stanford,

I don't have access to a full version of Monkey, so I can't complete any tests to answer these questions myself. We are still trying to see if Monkey is what we need. I apologize if someone else has posted these questions before.

Is there anyway someone could post a Frame me to compare between.

Half Debayer 2k High.
Full Debayer 4k, scaled down to 2k.

Here is a Free 4k test chart that would be perfect to use, thanks to John Beale
http://www.bealecorner.org/red/test-080108/R3D/4k-ChartA-T56-1-3.R3D

John Beale's test homepage
http://www.bealecorner.org/red/test-080108/index.html

I am only interested in creating the highest resolution 2k files, I know I can do 1/2 High in FCP/COLOR right now, but I want to compare this to Full scaled down to 2k.

Another question is how the Full Debayer is proxied. Does it write a full 4k DPX, then rewrite a 2k over it? Or is the full 4k Debayer stored in memory then scaled down and written as 2k?

Thanks for your help. If you can post full .DPX files that would be best. I know they are 9 to 12 megs, but I would be able to tell by bringing those in a composting app, to see which is the highest resolution.

Thanks Nigel

 

[Craig Herring]

hey craig,

sorry if this has already been answered, but when rendering out avid dnxhd files, are these native MXF AVID files, or QTs that still need the 'fast import' into an AVID?

Hi Chris,

Monkey Extract renders DNxHD encoded QTs. It doesn't export NXF natively.

 

[Craig Herring]

Hey Nigel Stanford,

I don't have access to a full version of Monkey, so I can't complete any tests to answer these questions myself. We are still trying to see if Monkey is what we need. I apologize if someone else has posted these questions before.

Is there anyway someone could post a Frame me to compare between.

Half Debayer 2k High.
Full Debayer 4k, scaled down to 2k.

Here is a Free 4k test chart that would be perfect to use, thanks to John Beale
http://www.bealecorner.org/red/test-080108/R3D/4k-ChartA-T56-1-3.R3D

John Beale's test homepage
http://www.bealecorner.org/red/test-080108/index.html

I am only interested in creating the highest resolution 2k files, I know I can do 1/2 High in FCP/COLOR right now, but I want to compare this to Full scaled down to 2k.

Another question is how the Full Debayer is proxied. Does it write a full 4k DPX, then rewrite a 2k over it? Or is the full 4k Debayer stored in memory then scaled down and written as 2k?

Thanks for your help. If you can post full .DPX files that would be best. I know they are 9 to 12 megs, but I would be able to tell by bringing those in a composting app, to see which is the highest resolution.

Thanks Nigel

Hi John,

Rather than posting files back & forth I can send you a temporary registration key that gives you full access for a while. That way you can do a thorough workflow test without the trial limitations.

Send me an email at support@rubbermonkey.co.nz and I'll sort that our for you.

Rendering is performed by Redline, so you'll get the same render quality as you would using Red Alert.

The 4K image is not written to disk first when rendering to 2K. The frame is decoded and scaled completely in memory before being written to disk.


Cheers,
Craig