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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 :)

Native Red support...

david farland said:
Realtime..okay

..Is this some of the code behind Red's RPL?

Is this a beta version of your Redcode plugin/codec/api or whatever is used to pull/ingest Redcode in FCP 6?

Cheers,
Click to expand...

Pull list is totally different from RedRad ingest. RedRad is for
ingest/logging with optionally transcoding. There's an equivalent
RAD workflow for P2 also.

There are two ways to work in FCP:
1) edit native redcode in FCP by the usual file loading process
2) ingest and log clips via RAD and transcode to ProRes, etc. optionally

Rob, Graeme and Ted did an amazing job making the FCP workflow
possible.

Deanan
 
This is what I find the most amaizingly RADical part of all the Red news.

I've been stationg since I heard that Graeme entred the team: Redcode and workflow will probably have an even bigger effect on the industry than the camera itself.

I'll modify this statement slightly, seeing what's going on:
That is, if other vendors survive - which I for one, really hope.

I can see Sony, Panny, and to a certain degree Thompson, not being too hurt by Red, because of their TV systems, but for the Cine-workflow, both high end and indie...

Cheers to Red!

Gunleik
 
Deanan/Anders,

Thanks very much for your explanations.
Think of me as the guy they wheel it to check if something is foolproof!!

I know the point is academic, as the public don't have Red cameras to produce RedCode, but if they did and I go online and purchase a copy of Final Cut Studio 2, will I be able to edit native redcode as per option 1 of Deanan's post above? My point being if it's commercially launched now...Great. If its going to be included the 'commercial' release of FCP in a month still GREAT.
I don't care that it's 'possible' or not (well I do), I mainly care about when a version is ready for us punters.

Blessing /accolades to ALL the RED team and what you/they're achieved....totally!!!

Gunleik,
I agree....

If RED came up with full offline/online grading/publish system they would KILL the world...Game over. I'd be totally surprised if they're not looking it that.


Cheers,
 
Deanan said:
Rob, Graeme and Ted did an amazing job making the FCP workflow possible.
Click to expand...

Trying to get a handle on the workflow. A few questions:

1) When REDCODE footage gets processed in FCP, what bit depth is used? The current version of FCP is limited to 8-bit in RGB mode. I assume FCP6 working with REDCODE footage won't have this limitation?

2) Since generating RAW footage on a computer doesn't make any sense, what happens when I do something with RAW footage on a timeline that requires rendering? What format are the render files written out in? The RGB version of REDCODE?

3) What's integration like with other apps in the FCP suite? I'm particularly interested in whether, if I have 4K footage on a timeline in FCP, I can still use the FCP/Color integration Apple showed. Color doesn't do 4K. In an ideal world the REDCODE RAW would look like 2K to Color, and Color could process it, render out to 2K REDCODE RGB, and swap that back into the original FCP timeline, where it would play back seamlessly with RAW footage. But that sounds tricky.

4) Along the same lines, what about other QuickTime apps? Can I feed REDCODE RAW straight into Shake, or is support FCP specific?
 
david farland said:
CINEFORM
...don't see any comments on RED on their page...umm
Click to expand...

We are showing RT 4K editing in our both under CS3, which would be a wink to a RED workflow, both RED hasn't yet opened there doors to us (we weren't grant "permission" to officially announce anything -- other third parties are likely in the same position.) We are certainly an export target for RedCine, but it would nice if Redcine would have a RAW output for a simpler path CineForm RAW. We will re-approach Red for this hook after NAB.

David Newman
CTO, CineForm
 
Deanan said:
Redcode works as RT in FCP6.
There's also RedRad for ingest (and optionally transcoding via a batch process). Lastly, there's an FCP fxplug that enable look development
that's compatible with RedCine and the in camera look settings.

FYI, "Crossing the Line" was cut via REDCODE natively in FCP 5.1 (with no transcoding). The same files were then used to generate the
full 4k frames to go into grading.

Deanan
Click to expand...
This completely blows me away. I can't wait to get my camera and FCS update.
 
Chris Kenny said:
Trying to get a handle on the workflow. A few questions:

1) When REDCODE footage gets processed in FCP, what bit depth is used? The current version of FCP is limited to 8-bit in RGB mode. I assume FCP6 working with REDCODE footage won't have this limitation?

2) Since generating RAW footage on a computer doesn't make any sense, what happens when I do something with RAW footage on a timeline that requires rendering? What format are the render files written out in? The RGB version of REDCODE?

3) What's integration like with other apps in the FCP suite? I'm particularly interested in whether, if I have 4K footage on a timeline in FCP, I can still use the FCP/Color integration Apple showed. Color doesn't do 4K. In an ideal world the REDCODE RAW would look like 2K to Color, and Color could process it, render out to 2K REDCODE RGB, and swap that back into the original FCP timeline, where it would play back seamlessly with RAW footage. But that sounds tricky.

4) Along the same lines, what about other QuickTime apps? Can I feed REDCODE RAW straight into Shake, or is support FCP specific?
Click to expand...

1) YUV 32-bit float (full sampling)

2) REDCODE RGB/YUV or whatever codec you set in the sequence settings / output

3) no answer for you on that yet
 
Rob Lohman said:
1) YUV 32-bit float (full sampling)
Click to expand...

This is good news - so to confirm, when using REDCODE as your timeline codec; FCP is converting the RAW RGB to YUV 32-bit float without dropping below the original bit depth (which escapes me at the moment) ?
 
The Recode codec is presenting itself to FCP as a 32-bit float capable YUV codec.
Inside the codec it converts the RGB data back and forth using a lossless conversion.
 
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