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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 :)

RELEASED: RED Final Cut Studio 2 Installer

Excuse me for not understanding... Actually, I'm not a RED owner (not yet!), so I'm trying to understand post-production using footage found on RedRelay... I've a folder that I created on my Mac Pro, with 2 .R3D files... and no way to import using log and transfert... I read in this thread something like "you only can import directories .RDC"...

What is directories RDC, some kind of folder created by the RED ONE camera when shooting ? How can I create one in my Mac Pro, so I'll be able to test myself ?

Thanks for your help guys...

Julien

PS : excuse my english, not sure of it...
 
Je n'te répondrai pas en français, je vais faire en simple anglais...

First of all, to load a new directory in the L&T window is quite long if you don't have fast drives (i'm working from a USB2 drive at this moment, and files can take several minutes to appear, even to show any activity)...

Secondly, indeed, Redone records its .R3D file in a folder that has the same name + .RDC (4 ex : A003_C013_080323.RDC)...

Try to create this kind of folder 4 each .R3D files and be patient with L&T...
 
when I point the L&T plugin into a RDM folder where all RDC folders inside, I get the Error message that there are no suiteable files were found.....
really strange from a direct copy of a camera mag.....

any thoughts ????

thx
rainer
 
That's some sweet ass news Red Team!!!
 
Jeremy Newmark said:
I'm having the same issue on one of our systems, works great on a similar system, which makes me think it's a bad setting somewhere. If I have time, I'll try and see if I can dig into this issue tomorrow and report back.
Click to expand...

How much RAM are you running? I've only got 4Gb so that might be a factor.
As suggested, I'm going to stick to 20 min. chunks, which work's fine.
 
Rainer Fritz said:
when I point the L&T plugin into a RDM folder where all RDC folders inside, I get the Error message that there are no suiteable files were found.....
really strange from a direct copy of a camera mag.....

any thoughts ????

thx
rainer
Click to expand...

Try going inside the RDM folder and select all (command+A) and see if that works. I am at home and do not have an RDM folder here and my red footage imports correctly into L&T so maybe it needs to go down one level. Silly, but that might be the case.

good luck
scott
 
thanks guys.... now I ended up with waiting 5 minutes and finally L&T imported the material.... after that additional footage loads directly....

so please can somebody from red please tell us the exact difference between the standalone imported QT files with REDCODE and the proxies?

AND: will it be possible to render the same files via redline? probably codec nr. 7 ???

thx

rainer
 
4KHD playback solved yet?

4KHD playback solved yet?

Anyone have any luck getting 4KHD material to playback smoothly yet? I've had no luck with proxies or native transcodes.
 
On a Mac Pro 8 core are any of you guys getting realtime playback at High quality for both 4k 16x9 and 2:1? Currently I'm receiving no dropped frames for 4k 2:1 (2048x1024) at...

Playback Frame Rate: Full
Playback Video Quality: Medium

If I increase the playback quality to Full dropped framed warning appears on 4k 2:1 clips.

I cannot playback 4k 16x9 clips (2048x1152) without drop frames at

Playback Frame Rate: Full
Playback Video Quality: Low

I'm on a 3GHz Mac Pro 8 core/16GB RAM with a clean install of Final Cut Studio 2.
Apple Mac Pro RAID Card RAID 5 configured with 4 x 750GB Seagates that have been speed tested and verified. Capacity 1.78TB Available: 1.72TB. AJA Kona LHe (updated). Mac OSX 10.5.5. Final Cut Studio software updated after clean install.

I would appreciate any playback reports and settings.
 
Rainer Fritz said:
so please can somebody from red please tell us the exact difference between the standalone imported QT files with REDCODE and the proxies?
rainer
Click to expand...

Yes, that'd be insteresting to know, because I dont see any difference. Well, I don;t have a dedicated HD-SDI monitor and I am just seeing the rendered files from my uncalibrated Dell. But as far as I can tell, both the Proxies and the Selfcontained Quicktimes Redcode have access to the Red tab in Color and to me both render same fast and the quality seems identical.

Is there any mistery in there because if that's so, why bother do all the Log and Transfer? Also I assume Color doesn't render Full Debayer Quality, because it renders way faster than RedAlert in Full Debayer Quality.

I'm all confused here.

IC
 
I have a theory that it is the following:

1. Log & Transfer transcode to ProRes allows very convenient editing, but takes a bit of time in the transcode.

2. Log & Transfer Native quickly wraps the R3D in QT, which is a fast process to create, looks better than the proxy, but is painful to edit.

3. Proxy works fine, but doesn't look as good during editing. In addition, you have to manually change the timeline size in Color and on the way back to FCP. This has already confused users, even though it was clearly described in the workflow. Option 2 avoids this so is less confusing to some.


Could be way off, but that's what my testing suggested as the differences.


For me, I am using option 3 all the way. Whack in an M proxy, edit away, jump into Color and bang you're done. Loving it!

Jim
 
jimhare said:
I have a theory that it is the following:

1. Log & Transfer transcode to ProRes allows very convenient editing, but takes a bit of time in the transcode.

2. Log & Transfer Native quickly wraps the R3D in QT, which is a fast process to create, looks better than the proxy, but is painful to edit.

3. Proxy works fine, but doesn't look as good during editing. In addition, you have to manually change the timeline size in Color and on the way back to FCP. This has already confused users, even though it was clearly described in the workflow. Option 2 avoids this so is less confusing to some.


Could be way off, but that's what my testing suggested as the differences.


For me, I am using option 3 all the way. Whack in an M proxy, edit away, jump into Color and bang you're done. Loving it!

Jim
Click to expand...


I have a sort of similar position - except it is great getting .r3d into Color.
And of course it is cool being able to save a look from red alert and use it in FCP

Mike
 
What kind of speeds and quality are you guys getting with the Native Log & Transfer? Anyone getting:

Playback Video Quality: High
Playback Frame Rate: Full

For either 4K 2:1 or 16x9 clips? Please can someone answer my question. I'm wondering if its normal for my Mac Pro 8 core with 16GB of RAM to only get Medium/Full with 4K 2:1 clips and dropped frames at Low/Full with 4K 16x9 clips.
 
Can someone please help me out I installed the plugin and everything works fine except when i send the footage to color to grade i can't access the red tab. I have tried shutting down and restarting the computer but it still does not work. I am really perplexed as everybody else seems to have no problems at all.... any help at all would be very much appreciated.

Thank You All
Melvin Chen
 
I would double check your Log and Transfer preferences to make sure that "native" is selected and not ProRes. Because if it's actually transcoding and not wrapping, then you don't have access to the RAW data. You can also do a test with the qt reference (proxy) files. Drop a few into a sequence and send it to color to see if you have access then.
 
Hey Jeremy have you found a solution to the dropped frames in the timeline?
 
thanks heaps Jeremy It was the preferences all along, duh... should have read the whitepaper more carefully. Crisis aborted thanks mate.

Melvin Chen
 
timeline won't find the drives that my media came from!?
I haven't moved them since transcoding, although they don't live on a Red branded drive anymore- but I put 'em on my own drive first.

Any help would be much appreciated. I've spent the last 3 days transcoding into ProRes (not HQ) with intent to go media manage and grade. If it really can't find the drives (says they're not mounted), then I have to start over- starting with Redcine, then FCP= a week of rendering.

This is a big little movie and I just cut a quick trailer to test this media manager back and forth workflow.

Thanks in advance for your advice!
 
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