RED material on Imac system

[sound]

Hi everyone, I need some help because I have a lot of material ( 2K ) recorded with RED ONE and maybe my system its so poor to development this work.
I have a Imac ( coreduo 2,4 Mhz,4Gb ram ) with FCP 6.0.5, Im tried to edit with log and transfer on native mode with no sucess because its too louder on specs system.
I tried to recode on FCP to Proress HQ and its to slow to recode.
Can I work with the proxies ?
Any ideas ?
What is the best workflow with imac system ?

Thank you.

 

[Kaku Ito]

With iMac's CPU power and the storage performance, you won't be able to edit in native mode because that is too large to handle. Working with 1k proxies would let you do proxy editing smoothly (maybe somewhat with iMac).

 

[sound]

With iMac's CPU power and the storage performance, you won't be able to edit in native mode because that is too large to handle. Working with 1k proxies would let you do proxy editing smoothly (maybe somewhat with iMac).

Thanks Kaku Ito. If I work with proxies 1K ( Medium ) then Can I conform the project in 2k native to final render ?
I want to work with color, Have the proxies metadata info to color ?

Thanks

 

[Kaku Ito]

Work with 1k, then send the timeline to Color then it will be automatically conformed to native R3D. There are few things you have to watch out for, like time remapping and a bug called loop bug with the long shot (that uses multiple R3D files for one shot) but there are ways around, so go ahead and edit this way.

 

[sound]

Ok Kaku Ito, Thanks.
Is the final render on color software or its better on FCP ?
Much appreciate for your replies

 

[Kaku Ito]

Ok Kaku Ito, Thanks.
Is the final render on color software or its better on FCP ?
Much appreciate for your replies

First you have to be sure that your iMac's spec. meets the requirement. Some iMacs lack the adequate video chip, so watch out.

Color would give you more control with primary and secondary room adjustments, but since Color handles only 2K size, if your final project is aiming 4K, then Color is no go. If it is 2K or HD then it can handle. If you shoot 3K, working with R3D natively in Color is not good.

If you shoot in 4K and finishing in 2K or HD, then I would edit with proxies, then save the timeline as XML, read the XML with Clipfinder, adjust the metadata of each used clips in Clipfinder, then render them from the same XML in Monkey Extract as DPX then grade them in Color.

 

[sound]

Thanks, ok.
I will follow this workflow with my material ( 2K )

1º- Edit Offline with proxies M. Its better work with Proress SQ ?

2º- Export XML from FCP

3º-Load the XML from FCP on Clipfinder

4º-Reconform XML on Clipfinder ( I hope Sucessfully reconform )

5º-Open the XMl Clipfinder on FCP

6º-Send to Color

7º-Render in Color ProressHQ 2k resolution or export DPX

Thank you

 

[Kaku Ito]

After you finish editing fcp, you can directly send to color if you are processing r3d there.

I take advatage of better picture quality of rendering using redline half high debater so I use clipfinder to adjust the metadata then render in monkey extract. Then use the XML from monkey to conform in color and grade.

 

[Nick Shaw]

take advatage of better picture quality of rendering using redline half high debater so I use clipfinder to adjust the metadata then render in monkey extract. Then use the XML from monkey to conform in color and grade.

Do you feel you get better picture quality by doing this? My understanding is that with the proxy setting on 'full' Color uses half-high. So you save time and drive space, and keys for secondaries are taken direct from the RAW, giving a better key.

I find it best to work in a 2k project in Color, even if it's for a 1080p finish, and scale in something else. I am not impressed by Color's scaler.

 

[Dario]

Hi Guys!

I make all my work at an 2.66 imac, alhthough no a rocket, i can work quite well with it with low quiality proxies in FCP.

Then i go to color and make the grading.

Another option you can try if you want to go 4K is doing al your edit work in FCP in low res proxies, the reconect the 4K correspondent files, and finish everything in AF. Although i've no use CS4 i know that it can work with .r3d files metadata.

You can use automatic duck for the FCP to AE, or the free FCPtoAE script

http://www.creative-workflow-hacks....o-after-effects-scripting-without-the-hassle/

I know the are not what you can call streamlined workflows, but they have serverd my quite well.

You can view some of my work at www.amadosfilms.com

Tresseme spots ( the ones with the girls)
Jabon De Glicerina
Stihl's spots

Una alegria popular videoclip

Hope it helps.

Best regards

Dario

 

[Kaku Ito]

Do you feel you get better picture quality by doing this? My understanding is that with the proxy setting on 'full' Color uses half-high. So you save time and drive space, and keys for secondaries are taken direct from the RAW, giving a better key.

I find it best to work in a 2k project in Color, even if it's for a 1080p finish, and scale in something else. I am not impressed by Color's scaler.

Hello Nick,

When I was working on the last feature called Kidnap Rhapsody, we evaluated the output results and found out that if you are shooting with 4k, then deliver in 2k or HD, the picture looked the best at half-high with OLPF on. Just try this in REDAlert! (half-high process in REDLINE was specially treated via Graeme's programming). You'll see the obvious clarity in the picture and marvelously fast rendering.

 

[sound]

Thanks a lot, nice info. tomorrow I will begin the edit, next week I will comment the development job.

Cheers