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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 :)

RED Log and Transfer Plugin (BETA)

Sanjin Jukic

Sanjin Jukic

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RED Log and Transfer Plugin (BETA)

"Load this plugin into your Intel based Mac that has Final Cut Pro 6.0.3
and above installed and you will have the Log and Transfer functionality to import REDCODE RAW
clips (either 4k 2:1 aspect ration or 2k 2:1 or 16:9 aspect ratio currently) and transcode them
(directly inside the Log and Transfer module) to Apple’s ProRes codec for use within Final Cut Studio."

Log and Transfer Plugin is working fine.

Log and Transfer R3D to FCP, Sent to Color, Sent to FCP, Cut, Output your movie.

Have a look at this short clip (10.5MB) done in a way described above.

Belvedere_01.jpg


LINK>>>
 
Tar said:
Can you transcode to other codecs? UC 10-bit?
Click to expand...

No - just prores HQ. However, as this utilises the half-size proxies, it's probably overkill to want uncompressed files, IMHO, and the prores files are perfect for working in FCP anyway.

The best thing (and the only real option in the settings) is the ability to apply a look generated in REDALERT to the footage when you import it, exactly as if you had used REDALERT to generate new proxies with the look applied. These looks are automatically listed in the log and transfer settings when saved in REDALERT.

Ben
 
A quick question. Does this work only with transfer of footage from Red drives or CF cards? I am unable to use this with sample R3D files - complains about an invalid directory structure. I presume it needs more info than just the R3D's and quicktimes.
 
Russ Campbell said:
A quick question. Does this work only with transfer of footage from Red drives or CF cards? I am unable to use this with sample R3D files - complains about an invalid directory structure. I presume it needs more info than just the R3D's and quicktimes.
Click to expand...

Folder structure is as follows:

<any folder name>
A001_C008_080309.RDC (or any folder name.RDC)
A001_C008_080309_001.R3D
A001_C008_080309_002.R3D
etc...


That should be all you need. This can exist on a RED_ONE volume or anywhere on disc.
 
This Belvedere test clip was shot with Cooke 25-250mm Cine Varotal Mk I (a vintage zoom lens from 80's).
 
Quick question..
Does the audio stay intact using this method or is it lost like in REDCINE, RED ALERT?

Thanks.
 
The release notes state that it takes audio from tracks 1 and 2 only - not 3/4, a known issue they hope to resolve soon. I cannot confirm this as the 4K footage I tested was mute, but the system did ingest the clips with 4 tracks of mute audio (assumed to be tracks 1&2 twice), so it looks promising.
 
Is there an option to crop the sides off of 2:1 to get 16:9?
 
Guy said:
Is there an option to crop the sides off of 2:1 to get 16:9?
Click to expand...

No. My Blackmagic multibridge pro happily plays back a 2K 2:1 timeline on 1080 settings, so I still get solid video monitoring and output.

There are NO options available on import, except selecting a 'look'. I expect that will change in time - it's a beta after all.
 
does somebody know about the quality of these prores files?are they proxy quality or full debayer quality, i guess proxy....and this plug in is a way to get sound out of r3d files
 
This method accesses the QT proxies - so you get proxy 'quality', but with easy to digest ProRes wrappers. It includes sound, and gives an easy means of logging and ingesting into FCP for whatever purpose you require, whether Crimson type finishing, or quick and easy 2k editing. Advantages here (over the compressor batch option) are using looks on import and quick and easy trimming of R3D files prior to import.
 
beneditor said:
No - just prores HQ. However, as this utilises the half-size proxies, it's probably overkill to want uncompressed files, IMHO, and the prores files are perfect for working in FCP anyway.

The best thing (and the only real option in the settings) is the ability to apply a look generated in REDALERT to the footage when you import it, exactly as if you had used REDALERT to generate new proxies with the look applied. These looks are automatically listed in the log and transfer settings when saved in REDALERT.

Ben
Click to expand...


L&T window does not use the camera generated qt proxies at all. Only the R3D files are processed.
 
reinhart said:
L&T window does not use the camera generated qt proxies at all. Only the R3D files are processed.
Click to expand...

FCP generates half-sized files that appear identical to ProRes files generated from camera proxies. It has to make it's own 'proxy' files to do this, in the same way as REDALERT generates proxies with a colour profile attached. Isn't this the same process, but without the intermediate file creation? There doesn't seem to be any quality difference from files derived from 2K camera proxies. Anyone from RED care to comment?
 
beneditor said:
FCP generates half-sized files that appear identical to ProRes files generated from camera proxies. It has to make it's own 'proxy' files to do this, in the same way as REDALERT generates proxies with a colour profile attached. Isn't this the same process, but without the intermediate file creation? There doesn't seem to be any quality difference from files derived from 2K camera proxies. Anyone from RED care to comment?
Click to expand...

It means if you have 4K file then you get 2K file PR generated.

For 3K you get 1.5K size.

For 2K you get 1K size.

Or 2:1 ratio.
 
sorry to get in the middle of an argument, but how do i get presets that i've made in RedAlert to be read in the dropdown window. All i see are native, tungsten, daylight, warm, and sepia. Is there a default folder somewhere that i should be saving my presets to?
 
The Log and Transfer workflow should be very soon explained here in all detail by the expert(s).
 
The Third Man said:
The Log and Transfer workflow should be very soon explained here in all detail by the expert(s).
Click to expand...

The workflow is pretty straight-forward, it's the same as the P2 workflow we all know and love, just a little slower right now. However people have been saying that they can apply saved looks from RedAlert directly thru the options dropdown, all i was asking is where should they be saved in order for the dropdown to recognize them?
 
Any sense of whether L&T is going to eventually let us work with 1:1 ProRes? For those of us shooting 2K we're working with less than HD footage.

I started a thread with this Q, but didn't see this thread already going on. Sorry for the double-posting.
 
ThomtheEditor said:
sorry to get in the middle of an argument, but how do i get presets that i've made in RedAlert to be read in the dropdown window. All i see are native, tungsten, daylight, warm, and sepia. Is there a default folder somewhere that i should be saving my presets to?
Click to expand...

You need to save your profile to the Presets folder located in Macintosh HD/Library/Application Support/REDAlert for it to show up under L&T
 
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