red render bar after upgrade

[Keith Alan Morris]

Actually, pretty much everyone is rendering out prores for dailies, particularly because of the weirdness with proxies, some of which you're experiencing.

I'm gonna have to agree with Gunleik and say that your odd frame size is the most likely culprit. Try dropping those same proxies into a 1080 timeline and see what happens.

Ok, I tried that and it still asked me to render. I guess that it is the 4.5k-ness of it all, combined with the new codec. That makes me sad.

 

[Gunleik Groven]

... hm ...

But did you try to render it into a 2k/1080 16:9 frame and THEN play it back?

Cheers!

G

 

[Oliver Peters]

Hi Keith,

Of course, you have to render! You have a non-standard frame size and raw media (from camera QT refs) placed on a timeline set to ProResHQ. There's simply no way that this won't require rendering. The issue is what level of RT is possible. That's in your RT settings on the timeline. Play around with those and see if the render bar changes to something else, like orange or green.

- Oliver

 

[Ben Brainerd]

The word render does not compute. I shouldn't have to start rendering when I haven't had to since 2008. WTF?

You're obviously coming out of the video world. (That's not meant as a slight, by the way. Just a comment)

One of the big issues I find people running into over and over when working with RED is the expectation that because it's digital it's going to work like video/HD. It's not. It's a digital *CINEMA* camera. If you treat it like film, proxies and whatnot make more sense. Consider the "Rendering Proxies" stage equivalent to "Developing the film and printing the dailies" and the whole thing makes a lot more sense.

Are there ways to work with RED footage without prerendering? Yes. Are they good workflows? Nope.

 

[Keith Alan Morris]

Hi Keith,

Of course, you have to render! You have a non-standard frame size and raw media (from camera QT refs) placed on a timeline set to ProResHQ. There's simply no way that this won't require rendering. The issue is what level of RT is possible. That's in your RT settings on the timeline. Play around with those and see if the render bar changes to something else, like orange or green.

- Oliver

Hi Oliver! I did. No dice. And I'd settle for orange (like I used to get before) so that I can fine tune the edit quickly. Is it my ProResHQ timeline setting? Should I try a different codec? I'll change it to whatever, anything to get rid of that red render bar.

Thanks for your help! I think I may have finally pushed it too hard...

 

[Keith Alan Morris]

Should I go back to shooting 4k? Would that solve it? Ye ol' 16x9?

 

[Oliver Peters]

Keith,

The problem can be made worse by your codec setting, but in reality you are working in an unsupported workflow. You could try changing this to ProResLT for offline editing, since this is less taxing, but I doubt 4K or 16x9 has anything to do with it. Neither Apple nor RED advocate using the QT reference files from the camera as your editorial dailies. It MAY work, but odds are that it will "break" as software versions change, because it is unsupported. In fact, editing with ANY QT references in FCP is a gamble. This has nothing to do with RED.

In the FCP world, there are essentially 3 workflows:

1. Convert R3D to a master-quality codec in RCX (HD or 2K), import into FCP and edit.
2. Use FCP L&T to import/rewrap as another codec for offline editing. Media Manage and repeat at higher quality for completion, including Send To Color.
3. Some combo of 1 & 2 for offline editing, then use ClipFinder (or other) to media-manage and relink to R3D for finishing.

- Oliver