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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

Thanks for this great tool. I have a question concerning COLOUR and the correction of R3D files. If I start with the RED correction tool in COLOUR I guess, that the correction is done on the native R3D-files. Right? But what happens, if I use the other correction tools of COLOUR. Do they also use the original R3D files or what happens exactly on this correction level. Hope, you understand, what I mean.
 
I believe it is using all of the info of the R3D files (just half the resolution in the case of 4K).
 
When you guys drop a clip into Final Cut Pro's timeline is the color of the render bar orange? I'm getting constant dropped frames. The Log & Transfer file are reported as being Compressor: REDCODE and my sequence is Compressor: Apple Pro Ress 422 (HQ)

Unlimited RT
Playback Video Quality: Low
playback Frame Rate: Full
Scrub High Quality: unchecked

Mac Pro 8 core, 16GB, RAID 5... FCP 6.0.5
 
facetmedia said:
When you guys drop a clip into Final Cut Pro's timeline is the color of the render bar orange? I'm getting constant dropped frames. The Log & Transfer file are reported as being Compressor: REDCODE and my sequence is Compressor: Apple Pro Ress 422 (HQ)

Unlimited RT
Playback Video Quality: Low
playback Frame Rate: Full
Scrub High Quality: unchecked

Mac Pro 8 core, 16GB, RAID 5... FCP 6.0.5
Click to expand...


What kind of drives and how full are they? Can you play a clip in your viewer, but not off the timeline?
 
Jeremy Newmark said:
What kind of drives and how full are they? Can you play a clip in your viewer, but not off the timeline?
Click to expand...

4X750GB seagates... with 1.13TB of 1.78TB available. Yes... I can play a clip in the viewer but not off the timeline without having dropped frames.
 
last night I sent about 40 minutes of "H" proxies straight into Color. The render went flawlessly out to prores 2k files and back to FCP. I usually only send edits through, but yesterday I was just coloring an entire shoot for an Avid session. The 2k files went out cropped from our Kona3 card in real time.
I've been waiting for this since NAB. Awesome!
 
what about the resample filters in color? not needed because of bluring option? what about OLPF compensation and post sharpening?

thx
rainer
 
At playback: full and quality: low... are you guys getting dropped frames?
 
Graeme Nattress said:
The RED room allows you to go back to the RAW data, so yes, any clipped highlights can be recovered by backing off ISO or exposure compensation.

Graeme
Click to expand...

I thought the 0.4 was gone, or is that just in Red Alert?
Mike
 
Yes, it's gone. But if you set ISO to 640 you get 1 stop of gain which means 1 stop of clipping too.

Graeme
 
Ran into a snag and I'm wondering if anyone else has run into a Color "crash" and/or extremely long import issues when importing a feature or feature length piece. After several attempts, 6 to be exact, only once was I able to import the entire timeline. What I figured out, around the third try, is that you have to be working off a raid or fast internal drives. I moved some RED files I had on an external eSata to my internal drives and tried Color again... It worked. I saved the project figuring I'd come back to it later... It never came back up. After a few more failed attempts, I figured I'd import something smaller so I sent the movie's open (roughly 4 mins.) and it worked fine. So I'm wondering if anyone has imported anything in the 90 min. range???
 
facetmedia said:
4X750GB seagates... with 1.13TB of 1.78TB available. Yes... I can play a clip in the viewer but not off the timeline without having dropped frames.
Click to expand...

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.
 
dj_redd said:
Ran into a snag and I'm wondering if anyone else has run into a Color "crash" and/or extremely long import issues when importing a feature or feature length piece. After several attempts, 6 to be exact, only once was I able to import the entire timeline. What I figured out, around the third try, is that you have to be working off a raid or fast internal drives. I moved some RED files I had on an external eSata to my internal drives and tried Color again... It worked. I saved the project figuring I'd come back to it later... It never came back up. After a few more failed attempts, I figured I'd import something smaller so I sent the movie's open (roughly 4 mins.) and it worked fine. So I'm wondering if anyone has imported anything in the 90 min. range???
Click to expand...

Importing the full movie is not the best practice for grading a film. I can't tell you why Color is technically unable to import the entire film but try breaking up the film in 15-20min reels and then import one at a time into color. After timing everything you can re-assemble in FCP.
 
Color's manual is recommending chunks of 20 minutes or about 200 edits and I don't think that has changed with the recent update.
 
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...

I'm hoping that I won't have to reinstall the entire system to solve this one. I've checked the volume and its alright, permissions are alright, I've followed the directions in the white paper... can't begin to guess whats causing it.
 
What about 3:2 pulldown in Final Cut??/

What about 3:2 pulldown in Final Cut??/

This is a question I've had for a long time that's not been answered. If I drag a 23.98 RED clip into a 29.97 interlaced sequence, is there something that needs to be done in order to apply a 3:2 pulldown to the RED clip? Normally this would happen in the telecine to tape, but I'm confused as to how this works in Final Cut and dragging 23.98 clips straight in. Thanks for any answers!
 
FCP doesn't by itself add pulldown. To add pulldown, either play a 23.98fps sequence out to tape - the Kona card will add the pulldown, or you can get my Standards Converter plugin and apply 3:2 as a render process with the "G Film Converter" film to NTSC option.

Graeme
 
bobbystone said:
This is a question I've had for a long time that's not been answered. If I drag a 23.98 RED clip into a 29.97 interlaced sequence, is there something that needs to be done in order to apply a 3:2 pulldown to the RED clip? Normally this would happen in the telecine to tape, but I'm confused as to how this works in Final Cut and dragging 23.98 clips straight in. Thanks for any answers!
Click to expand...

Most video hardware does 23.98 project to be output to 29.97 nowadays, so Matrox MXO, MXO2, MOTU V4HD, Decklink HD and Multibridge Pro/Eclipse do it, too.
 
Graeme Nattress said:
FCP doesn't by itself add pulldown. To add pulldown, either play a 23.98fps sequence out to tape - the Kona card will add the pulldown, or you can get my Standards Converter plugin and apply 3:2 as a render process with the "G Film Converter" film to NTSC option.

Graeme
Click to expand...

In a way, FCP does do the pull down insertion, too (maybe conjunction with using a proper hardware). When you have 23.98 timeline, then by choosing the video output to be 29.97, then in the timeline's RT tab, there are choices of pull down insertions. So, I guess FCP is doing a part of job?
 
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