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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)

hi! I just wanna know if the log and transfer window from FCP will transfers 2k or proxies files?
 
This proxies/wrapper/reference files makes me nutzz....

I understand the quicktime files that generated in the camera is quicktime reference files, not a proxies.
That's only reference file, that's why it's only ~4KB.
If you delete the R3D file, the reference file (RED called it a wrapper) will not shows your shot.

AFAIK, a proxies is a lower resolution of a file with the same format.
So, if I have 4K DPX files and I wanna make a 1K proxies to work with, then I just make a proxies (for example in Lustre) by pressing the proxies button.
Then Lustre will create a new DPX files from the 4K resolution and downres that files to 1K DPX files.
So, I will work with that 1K res.
DPX to DPX format.

So, the question is:
Is the Log & Transfer Plugin creates a reference file from the R3D file or create a Quicktime movie with ProRes codec by debayering from the R3D file???
 
Russ Campbell said:
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
Click to expand...

thanks so much! i didn't see that before because our bays get used by many people and redalert was installed originally under a non-admin user thus that folder didn't exist, simple change big results! Thanks again!
~T
 
thx PVillow. 1 last questions, so now that i have my reference files inside final cut pro, what will be my next step. I need them to be 2k for a project that i need to edit. I heard about a new software call crimson, I don't know if is good and what does it do. did you know about it?
 
:blink: :unsure:
Rob3rt Duart3 said:
thx PVillow. 1 last questions, so now that i have my reference files inside final cut pro, what will be my next step. I need them to be 2k for a project that i need to edit. I heard about a new software call crimson, I don't know if is good and what does it do. did you know about it?
Click to expand...
 
Rob3rt Duart3 said:
thx PVillow. 1 last questions, so now that i have my reference files inside final cut pro, what will be my next step. I need them to be 2k for a project that i need to edit. I heard about a new software call crimson, I don't know if is good and what does it do. did you know about it?
Click to expand...

crimson is a round trip application, you edit with proxies or these L&T files you can now generate inside final cut, use crimson to make the connections from the proxies to the original R3d files so that you can take that information either into color or RedCine or scratch or whatever you want to finish your project with and then use crimson to bring the finished files back into your fcp timeline. Once they get color to read the R3d files for itself crimson won't be as helpful as it is right now in the fcp workflow but will still be invaluable if you're on an avid or any other platform that isn't as apple friendly as the fcp workflow is.

It saves you from having to sit thru a 10:1 transfer rate for all of your footage going thru RedCine, just grade what you're actually going to use.
 
Thom, can you please explain to me what is the file type of this proxies that you mention.
What is your definition about proxies?

AFAIK, Proxies is not a QT reference file.
A proxies is a lower resolution of your file, but have the same format.

CMIIW
 
I just meant however you want to edit, be with the _H or _M proxies off the camera, L&T 2k (which i'm very excited about), or compressor droplets, these can all still retain at the very least a name connection to the original R3d files which crimson utilizes in order to round trip your project.

I guess i wasn't using it right there, i was just using it as a placeholder for however you decide to edit your footage.

BTW, what's a villow?
 
So, the L&T plugin creates a quicktime reference file not a quicktime movie right?

Villow is my last name, my dad gave it.
Have no meaning, but it sounds cool if you spell it in Indonesian language :bleh:
 
pvillow said:
So, the L&T plugin creates a quicktime reference file not a quicktime movie right?
Click to expand...


No no, that's the nice thing is that L&T creates it's own new self contained file, just like importing from P2 workflow, but you can choose to have the name of the file stay the same as the R3d file from which it was created so you can still reference back to further down the timeline, but it is it's own movie so if you just want to grade on top of that and finish everything in 2k you can do a nice "send to color" straight from fcp and completely ignore the raw files from there on out.

From what i've tested L&T generates a fully usable ProResHQ qt movie which lays off perfectly to HDCam if you're finishing in 1080p or the 2k that you bring it in at, only problem is that you're still stuck with the org 2:1 ratio unless you pan & scan it to a full 16:9.
 
pvillow - Wrong. L&T produces a stand-alone QT movie in the ProRes422 codec. In this sense, is not a "reference" file. By working with the ProRes file that L&T creates you could conceivably never have to work with the R3D file again. You could even delete it.

BUT that would be a very bad idea because (for now, at least)the ProRes422 files that L&T creates have 1/2 the resolution of the R3D. So eventually you'll want to go back to those R3Ds, probably using Crimson. At least until Apple Color starts letting you use R3D files.
 
Thom and I posted at the same time, so we're saying the same thing. Except Thom assumes you're working with 4K footage.

It's important to remember that, whatever the size of the original footage, the ProRes is going to have HALF that resolution. So if you're shooting in 2K because you have Super-16 lenses, or because you need the additional accelerated frame rates that 2K provides... then you're going to be editing footage that has LESS than HD resolution.

That's why L&T, though it works, is for me not entirely satisfactory as-is. It needs to be able to take 2K footage and transcode it at 1:1 resolution.
 
P. Harrill said:
That's why L&T, though it works, is for me not entirely satisfactory as-is. It needs to be able to take 2K footage and transcode it at 1:1 resolution.
Click to expand...

Potential workaround for that (if you're shooting off frame rate for a few shots as we did with this 3 red music video we did) is to L&T 90% of your footage then the shots that were shot in 2k digitize in redcine so everything is uniform frame size/rate/codec in fcp, you can still disregard the R3d raw footage from that point on out.

But yeah you're 100% right if your whole shoot was shot 2k then L&T really isn't that viable an option (for now, remember this is still the beta build and i'm sure that will be their one of the first if not the first correction upon recoding)
 
Interesting, Thom. What settings are you using in RedCine to do that conversion from 2K to ProRes? I tried it just now, but had some image "squeeze" going on.
 
They wanted the video set to 16:9 rather than the native 2:1 so our setup was:

project
format settings
RED ONE 2K: 2048x1152
square
23.976

shot
shot framing
Fit Height

yes you are scaling up to 112.5% but on our monitors we can't tell a difference because deliverables are HDCam 1080psf24 and DVCam PAL (foreign artist/european & russian distribution)

output
output settings
format: Red One 2K
w: 2048 h:1152
format: QT apple prores 422 hq
normal/standard

Looks pretty damn good if i do say so myself
 
P. Harrill said:
Interesting, Thom. What settings are you using in RedCine to do that conversion from 2K to ProRes? I tried it just now, but had some image "squeeze" going on.
Click to expand...

In Redcine, import your 2k 2:1 files, go to project view, set your format to custom and change it to 2048 x 1024. Then in the output view choose quicktime and set it to ProRes 422 HQ and change the format to custom and set it to 2048 x 1024. Export and you should be good to go.
 
Posted at the same time, this would be for a 2:1 workflow, if 16x9 use Thom's res settings.
 
ThomtheEditor said:
No no, that's the nice thing is that L&T creates it's own new self contained file, just like importing from P2 workflow, but you can choose to have the name of the file stay the same as the R3d file from which it was created so you can still reference back to further down the timeline, but it is it's own movie so if you just want to grade on top of that and finish everything in 2k you can do a nice "send to color" straight from fcp and completely ignore the raw files from there on out.

From what i've tested L&T generates a fully usable ProResHQ qt movie which lays off perfectly to HDCam if you're finishing in 1080p or the 2k that you bring it in at, only problem is that you're still stuck with the org 2:1 ratio unless you pan & scan it to a full 16:9.
Click to expand...

P. Harrill said:
pvillow - Wrong. L&T produces a stand-alone QT movie in the ProRes422 codec. In this sense, is not a "reference" file. By working with the ProRes file that L&T creates you could conceivably never have to work with the R3D file again. You could even delete it.

BUT that would be a very bad idea because (for now, at least)the ProRes422 files that L&T creates have 1/2 the resolution of the R3D. So eventually you'll want to go back to those R3Ds, probably using Crimson. At least until Apple Color starts letting you use R3D files.
Click to expand...

OK, thanks guys.
 
Interesting that Red support page suggests that we stay on FCP 6.0.2, yet the plugin only works after upgrading to FCP 6.0.3
 
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