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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

Gunleik Groven said:
So, do I misread this, or is it possible to cut from the cam-proxies and "send to color" for an online from the RAW files? In case, that'd make my day (or two... :) )

Can someone confirm something about the signal chain in Color? WHat color"space" and bitrate we will be working on in color, and what kind of 4k to 2k conversion is going on?

Gunleik
Who's out shooting, and cannot join the fun 'till tomorrow...
Click to expand...

proxy to COLOR...works...
but if you edit with p.mov proxies....and send to COLOR...you have to change settings in the geometry tab.
 
The geometry room in color?...

Anyone done some testing to see if we have access to the full 12 bits?

In case, I guess it would be best to grade from a flattened lin image...
 
I'm having the same problem as bobbystone. Clips in the sequence sent to Color have a red x for a thumbnail and no image will show up. Anybody know how to fix that?
 
Answers my question of not being able to go back and reconnect the files on my timeline. O well at least this is good for future work. Thanks for taking the time and making the vid Rich!
 
Gunleik Groven said:
The geometry room in color?...

Anyone done some testing to see if we have access to the full 12 bits?

In case, I guess it would be best to grade from a flattened lin image...
Click to expand...

From my playing around, and the quality of the image I'm seeing, it appears yes, we have all 12 bits.

I would be interested in knowing if you're sending PROXIES into color though, it would be the same situation. My tests was with newly created "Quicktime RAW" files, created by the L&T plugin.

By the way, a lot of the questions here can be answered in the whitepaper, could also cut down on the confusion level. It was difficult for me to make myself read it with my excitement level, but it has a LOT of real info in it.
 
So anyone sucessfully used workflow no. 2 from Whitepaper page 16 and up? I'm having some troubles.

For example stage 4 says click the Browse button, but even on their screencap it is disabled and non-clickable.
 
new .mov work great in After Effects too...

What about Crimson ?
 
Guilain said:
new .mov work great in After Effects too...

What about Crimson ?
Click to expand...

...REALLY?

I didn't expect general QT compatibility. In fact, I think I've heard only a couple apps are supposed to work. Somebody mentioned Compressor was not working with those new files.
 
Fixed the red X's

Fixed the red X's

I had installed the FCS2 plug-ins BEFORe updating the pro apps update. Wenty back in installed pro-apps then the FCS2 and now all is working. this stuff ROCKS!!!!!!

I'm playing with a project edited with _M proxies and it seems to work fine. You have to reset gemoetry if you mix in 3K or 2K stuff with 4K.

I have NOT solved the smooth playback issue with the native packed stuff yet.
 
Cant get back form color to FCP with grades

Cant get back form color to FCP with grades

Hmm. after sending to Color, doing a grade.. sending back to FCP, the new Final Cut Seq doesn't have my color grade on it.. Any thoughts Could this be because Im using proxies?
 
It doesn't open it, it just sticks it in the asset list with (from Color) after the title.

Did you open the sequence from there?

Works for me, both with proxies and native.
 
Stephen Webb said:
Anyone tried 25p yet? Or any other "unsupported" framerates?
Click to expand...

Hey Stephen,

I tried 25p last night. Worked great. Mixed 2k and 4k and never missed a beat.

Does anyone know whether we are getting full debayer and other benefits of Redcine here?

I compared it to fully debayered material and it appeared to look the same, though I was using ProRes so can't be absolutely sure.

No matter what, this is a great thing. Just being able to dump everything in FCP and only grade the frames you are using (ala crimson/monkey) is a beautiful thing.
 
Problems in Color

Problems in Color

Hey guys,

I'm using a sequence with RED proxies at MEDIUM quality: some at 768x432 (from 3K) and other at 1024x576 (from 4K).

When I send it to Color, the files at 768x432 show up fine in Color but the ones in 1024x576 aren't showing up properly.

Is that because the RED plugin for Color does not support files originated in 4K?

Thanks in advance for the help!
 
sorry for repost
I should have placed these two in this thread

J Davis said:
Wouldn't it be nice if the FCP timeline picked up the same info accessed
by the _H or _M reference quicktimes
yet still sent all data to Color

Could this be selected during the Log & Transfer stage?

Wishful thinking
Click to expand...

J Davis said:
To Brent@RED – can the quicktime wrapper be constructed so this can happen?
Click to expand...
 
I tried making a sequence with the _H proxies and sending it to color, and the RED tab works fine, making me believe that it works just as well as the L&T wrapped ones. Although bobbystone was having the problem sending back to FCP, I didn't try that. I have a video cut with the _M proxies, I'm going to try to relink them to the _H proxies and send to color for my grade. If that doesn't do it, I'll use the clipfinder method.

For me, grading with proxies is much easier than re-wrapping with L&T, so I want to find a way to make it work. I'll do a test and post side-by-side results.
 
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