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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 :)

R3D data manager???

Photocon said:
The best way, right now, is to do one mag folder at a time. I havent had the chance to explicitly test what you are trying to do.
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Copying a whole drive worth of mag folders would be really useful for us... our workflows all have shows sending 2-3 "film breaks" a day back to the lab to have them backed up and processed. The mags stay on the camera truck, and duplicates are sent on portable drives. Maintaining the audit trail in this flow with a full drive copy would be very handy.
 
Photocon said:
You could even do a finder copy then use R3D Data Manager to validate the files via stored checksums. Just select the mag folder on the final destination as the source and select "check checksums".

Theres so many ways to use the R3D Data Manager, that it really does fit into just about every workflow.
Click to expand...

Hey Conrad,

Quick question, when you do this it just runs through and creates another text file for that date without telling you that it's finished. If there was a problem and they did not match, does it alert you about this or do you have to physically go in and compare the text files?
 
R3D data manager proved to be a very good tool tested it on set today. It was robust and easy to use. Also compliments to Conrad very quick replies to my queries with easy to understand trouble shooting.
Looking forward to the QT import window very much!

I had a problem entering info into the production info menus. Conrad pointed out that this can be done only when the source directory is a red drive or CF. Tried it again directly from the RED media and it worked. Wondering if in future this will be enabled for copied data as well as directly on a red media?
I can see many applications of this in post situations where a drive is received with copy/pasted data on it and we need to start a checksum process with out the original media.
 
jnewm said:
Hey Conrad,

Quick question, when you do this it just runs through and creates another text file for that date without telling you that it's finished. If there was a problem and they did not match, does it alert you about this or do you have to physically go in and compare the text files?
Click to expand...

We will update this in a future version, but right now it will only alert you if there is an error.
 
Photocon said:
We will update this in a future version, but right now it will only alert you if there is an error.
Click to expand...

Great! Thanks, it's good to know that it will alert you now, if there is a problem. We've been testing out the software on a 2 camera shoot for the last 2 weeks and it works great. We'll be purchasing it soon. Thanks again.
 
coldpizza said:
I had a problem entering info into the production info menus. Conrad pointed out that this can be done only when the source directory is a red drive or CF. Tried it again directly from the RED media and it worked. Wondering if in future this will be enabled for copied data as well as directly on a red media?
I can see many applications of this in post situations where a drive is received with copy/pasted data on it and we need to start a checksum process with out the original media.
Click to expand...

R3D Data Manager was designed to be an end to end solution. As such, the only place that it makes sense to enter that production info is on set. Afterwards you would need to view each clip individually to get all the info there, especially the script scene numbers. In addition, in post, this program may not even be used for the same production at the same time, let alone days or scene numbers.

And in addition, if you are creating checksums from copied data - the you are only able to verify the data to that point. Who knows if the first copy was correct, or even complete?
 
I am using R3D Data Manager on set right now, working like a charm. It actually has flagged some files that had potential problems (turns out they were okay) and I feel a lot more confident on set using a tool like this. When I hand a drive back to the camera crew, the files have been backed up to three destinations, checksums have been verified, and everyone is confident that the media is safe and we can move on.

I just used it on a movie last week as well, and knowing that the talent was probably not going to be able to come back to do re-shoots (they are in their 90s), again I felt like we had a good backup plan in place. So no worries.

And, not to plug the product anymore, but Conrad fielded emails from me about a problem I was having when I was testing the program and it turns out it was not the software but the way the Red Drive was connected through a Wiebtech Combodock. Once I removed that variable, things were fine, but he was quick to respond to me about the issue to help me troubleshoot.
 
Conrad-

Where I see this useful is for when we get back to the office. We use the software on set while we are downloading in the field. It does the checksum and we know we copied off the red media to our hardrives in the field. Now when we get back to the office we take all the media from the hard drives and copy it to the server, then it would be great to use the software again to make sure it is copied correctly. This would be done from a non red drive to a non red drive and still needs to be verified.
 
Scott Mason said:
Conrad-

Where I see this useful is for when we get back to the office. We use the software on set while we are downloading in the field. It does the checksum and we know we copied off the red media to our hardrives in the field. Now when we get back to the office we take all the media from the hard drives and copy it to the server, then it would be great to use the software again to make sure it is copied correctly. This would be done from a non red drive to a non red drive and still needs to be verified.
Click to expand...

I dont see this as an issue. Just use the program again to do the copying. It is designed to work like this. Files are always verified as long as you have the option enabled.
 
Sorry I misunderstood something from your post, when you said where I thought it would only verify media from a red device. That is great it will work that way too.
 
And R3D Data Manager is a great end to end solution.
What I am saying is it would be great as a solution for situations in which a DIT is not on set (stupid I KNOW!!! but some producers don't know ow any better).
I was on a low budget feature last year and they could afford me for only half the shoot days. The other half I had to teach someone ells how to copy files they delivered the HDD to me at the end of every days shoot for back up and redundancy. A tool like this with the production info available at any post stage would be brilliant.
 
Thanks to Conrad and everyone who had a hand in r3d data manager - we've tested it out on a couple of shoots now, and even on a lowly macbook it performs very well!

The peace of mind is worth the price alone. I'm excited for the new features.
 
Can Data Manager do a sorting to the destination? Like have a destination for 4k 2:1 and then a different for 4k 16:9, then a 3rd for 3k, 2k, etc etc?

This would help out a lot when making my proxies for offline edit.
 
William Wedig said:
Can Data Manager do a sorting to the destination? Like have a destination for 4k 2:1 and then a different for 4k 16:9, then a 3rd for 3k, 2k, etc etc?

This would help out a lot when making my proxies for offline edit.
Click to expand...

Right now R3D Data Manager does not sort any footage. Im curious to know exactly your workflow so I can see how this functionality would help.

Thanks.
 
My projects are shot with anamorphic lenses btw, so the unsqueeze adds more steps than the average project. Although this could theoretically help out other people as well.

The workflow goes like this:

1. Backup footage accordingly from camera

2. Use RedRushes (or Data Manager when it's implemented) to export offline clips for edit at a decent resolution with a crop and an unsqueeze (cropping a 16:9 or 2:1 frame into a 1.20 Anamorphic extraction then unsqueezing it to a 2.4). ProRes or DVCProHD.

3. Take the ProRes or DVCProHD files into Quicktime and down convert them into a normal frame size (1280 X 720 or 960 X 720) with black bars at the top and bottom squeezing it into the frame using QT's Preserve Aspect Ratio->Letterbox to inset the 2.4 frame into a standard 16:9 frame.

4. Edit in FCP with offline DVCProHD or ProRes files.

5. Conform with Crimson, color correct with Color, finish.

--

There are some problems with that workflow that could be smoothed out (for instance saving duplicates of the footage between RedRushes and Quicktime) and it'd be nice to only have to run it through one program instead of two. Also how good is the down conversion in QT? From what I saw it looked totally fine for offline.

The reason the black bars and standard frame are so important to me is that it will speed up editing months down the road (my projects are all features meaning at least 4-6 months of editing) and will allow for minimal FX and color correction along the way in the offline, to know that the choices you are making as to which footage to use for what will properly work later.

By insetting the frame into a standard frame will free up a good portion of the CPU and keep it from having to render every clip in the timeline on the fly. This is the part of my work flow that I think most people can appreciate because it will really make editing less painful for editors.

PS: Each different resolution requires different math through Redrushes which is where the sorting of files upon import makes sense. It could be as simple as having a check box called "Sort according to resolution/frame size" and then in the output folders it just creates a folder for each different type (4k 2:1, 4k 16:9, 3k 2:1, etc) and that way when we go to down convert you can just select a whole folder and be sure that all the clips in there are the correct setting for the output.
 
I can't seem to input any shot info, project info, or red media info. My preferences option is greyed out in the dropdown menu.
 
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