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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

Excited at first. Now a little hesitant as I go through the details. Still need this extra transcoding and a whole shit-load of more storage. I'm well over 30tb of footage (including backup drives) on one project alone. Now to transcode all this? Sheesh. I do think it's a great step though. However I have a lot of slow-mo on 3k - that seems to render this upgrade as being rather inefficient, seeing it can't handle 3k (at this stage). Hopefully newer versions of this plugin will open up many more doors.

I'd like to see one of Big T's side-by-side tests comparing this method to the H proxy. Big T - you up for it?

Despite the delays with Adobe, their potential in this mix still does still intrigue me.
 
Very cool news REDteam !
When I heard months ago, that Color was going to have a Red tab, I thought it was something Apple was implementing – now we don't have to wait till Color2 / FCS3
Well done!
 
i'm updating everything right now.

One question:

Do these wrapped r3d files not have the darkened color issue that the proxies have? That would be a big deal to me.
 
I've got this working.

It's a huge step forward for getting the best out of your R3Ds with FCP/Color. It's clear when working inside color that you're got a lot more room to mess around, as well as boost underexposed shots.
 
This is a huge step forward for RED. Thanks to Rob & Craig & everyone who made this possible...

Now to the details... real life editing with this plugin is still not going to be fun. Performance is quite poor on my latest-gen Mac Pro. Playback is smooth, but the work of editing (scrubbing, moving around the timeline etc.) is extremely slow. I'm working on a fast set of disks with an 8-core tower, plenty of RAM.

Several things are done very well: playback is smooth; the online workflow is slick, as is reconforming if you choose that route; the RAW functionality in Color is excellent (can we get a similar plugin for FCP?).

I'm noticing that the codec does not seem to be using much of the CPU power. 25-30% max. The hardware is not being tapped as well as it could be to make performance acceptable for a smooth editing experience. Until the multithreading is improved I think most will still elect to use RedRushes to Prores...

I still need to see if I can create offline ProRes in another application (such as RedRushes), then re-batch to online in Final Cut/Color....
 
Hello everyone,

I'm just wrapping up a week in Japan. Fascinating week here showing off our new Scarlet and Epic announcements. The ever-growing RED community here is very excited.

Thanks for all the positive comments about this next stage of the Apple integration with RED. I look forward to hearing how everyone does with it, as grading with full access to the full range of image data in the R3D's is a significant advancement to the power of the Apple workflow.

The guys doing the heavy lifting on the software side, (Rob, Graeme, Craig on the RED side, and the very highly skilled team at Apple on the ProApps engineering side) deserve all the credit for making this happen, and sticking with it through all of the dev. cycles to make the workflow stable and highly functional for the very large customer base posting RED material with Apple gear.

Lots of fun watching it come to life - and now the real fun begins as it's in your hands to work with.

+ Ted
 
Shawn Nelson said:
I'm not trying to douse excitement, I'm just trying to figure out why people are happy about 'native' R3D and yet also saying you have to wrap them. We've been able to 'natively' edit R3Ds via those Quicktime reference files for a long time.

I'm not at my Mac so I can't try it now, just hoped someone would give me a few line reply to straighten this out.
Click to expand...

hey shawn the biggest advantage is that you dont need....to conform.
crimson is cool...but its now a little easier.

all the workflow discussions about redcine needs a edl...remember?
this is a really good workflow for conforming for 2k dpx sequences.
 
Kevin Wild said:
Glad everyone is so excited and happy, but...

...has anyone gotten it to work yet? I have tried it a couple different ways and have not. Every time I send it to Color, I get a "X" thumbnail that usually means unsupported Codec.

I've tried it both ways that the RED Doc said (Workflow 2 & 3).

The easiest seems to be #3. Here is what I've done:
-Imported the clip as "Native" so in FCP, it shows as 23.98p, 2048x1024, REDCode.
-I did a new sequence preset per the specs they said in the document (23.98fps, 2048x1024, Apple ProRes 422 (HQ)
-I drop a clip in the sequence (and select "no")
-I render it out
-I "Send to Color"

That's it. Should work. I get the "X."

Anyone else get it to work?

Kevin
Click to expand...

drop the clip in the sequence and select YES instead of no
 
Creating offline ProRes files (for ex. in RedRushes) is NOT COMPATIBLE with this online workflow! The reel name format is different between the REDCODE L&T plugin and RedRushes.

As well, batching via RedRushes, importing to FCP, media managing and attempting to Batch Capture brings up the Log & Capture window, not the Log & Transfer window... so Final Cut has no idea that you're trying to reconnect to a file-based camera mag.
 
Performance Tips: turn off "Scrub High Quality"

Performance Tips: turn off "Scrub High Quality"

In addition to setting "Playback Video Quality" to Low in the Final Cut RT menu in the timeline, unchecking "Scrub High Quality" definitely improves the editing experience.

However, tasks like roll edits & slip edits are still painful...
 
Great job guys. I've been waiting for tthis for a long time. I think most of us did.
 
I'm hanging out to see what BigT and Mike Seymour reckon, when compared to their workflow...a negative of which is having to render out of FCP before Color can read the files, and then having to render again after CC. Maybe this new option speeds that up by negating one render step...
 
Testing now, some 3k 60fps L&T from my recent burning man 08 gig, followed the sequence settings in the guide for set. I am seeing incredible improvements, by far the best quality of footage my cinema display has delivered...I am very excited. I did notice I am unable to change the RT sequence setting to unlimited RT...the options just are not there? So I am forced to render at the moment, working on a pretty juiced mac station...what I am I doing wrong? Render or not, this is amazing.
 
Anyone interested in making a quick youtube video of the new workflow? Still stuck with fcs 1 until fcs3 makes an appearance, but i'd really like to see the workflow first hand... if anyone has the time:sarcasm:
 
Tanner Field said:
Anyone interested in making a quick youtube video of the new workflow? Still stuck with fcs 1 until fcs3 makes an appearance, but i'd really like to see the workflow first hand... if anyone has the time:sarcasm:
Click to expand...

If I have the time later tonight, I'll make a quickie video for you! No promises!:w00t:
 
everything works...

but the gather rendered video erased 17 frames in COLOR...
any workaround?

ok guess i could do it in ae.
but i like to avoid that step.
 
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