Sneak peek, courtesy of Adobe

[Steve Freebairn]

Come on Guys...
What you saying is true , but things are changing...35mm scanned in 2k and than down res to SD for avid editing as always be done because there was not enough by the editing workstation...also HD tape was more expensive , the 50' plasma was not even real , the HD monitor was 50000 $...etc...

Now we have a 4k camera , the files are ready (i mean digital) to be edited in 2k and there is enough power too...
Why in the August 2008 we should set up an SD editing system?

Also not everybody here have the RED for Tv finishing ,also someone like also edit in a 50" plasma screen ,

Cineform is showing the possibility to edit 2K in realtime under premiere,

I am just saying that adobe should do the same with R3d (but it seems that Rd3 is more complex to decode )

Anyway i am sure they will do as much as they can , i am just saying that they should keep going to have that realtime playback at 1/2 res (actually HD should be Ok but as i have understood the RAW system works dividing by 2 every time ....)


I agree that it should be interesting if any plug in for premiere should work with R3D files (like color Finesse)or if they need to be updated for that

G

If you have an AJA card or BMD card, I'm sure that you'll be able to output to your monitor. If your system can play back 2k realtime, then it shouldn't be a problem to have your card scale or crop it down to 1080p. Remember though, that unless you have a skulltrail system, 2k realtime is probably out of reach. This is written by RED so they are using the same debayer they use in RA and RC, so if you can play back realtime in either of those programs at 1/2 res high (on 4k footage) then you should be able to in Premiere.

I've edited projects in Premiere at 3840x1080 before and it worked fine (and that's on a quad core system). Premiere is very versatile in what it will let you do.

 

[Antoine Fabi]

Hi Rob,

I wonder how CS3 will handle the highlight data integrity/CC quality and versatility (and controls) compared to the exellent image quality of REDCINE and REDAlert output...

thanks

Antoine

 

[Tom Lowe]

I'm sure you've done this, but it could be time to defrag your drive.

Did that recently. My CPU was top of the line a year ago, but I think I need to get a new CPU/motherboard soon.

That ability to work at 1/4 res in this plugin is super badass. I wonder if Cineform could do something similar with Prospect?

 

[Steve Freebairn]

Did that recently. My CPU was top of the line a year ago, but I think I need to get a new CPU/motherboard soon.

That ability to work at 1/4 res in this plugin is super badass. I wonder if Cineform could do something similar with Prospect?

cinewho? I see no need for them now.

 

[Obin Olson]

Its a fantastic way to cut, and then render out upto 4k or anything below for your grade etc in other apps, now if we can get some AAF support from the color grade guys.

 

[Obin Olson]

Your going to love it - it will work in 32bit all the way in Premiere.... no banding, no image degrade!

Again when performance reaches 1/4 res or 1024x512 it's home free from here on out, all we will need is AUDIO and HDSDI i/o

BTW since it's just an importer, not a low level replacement of the Cs3 video engine it's not going to get in the way of the CS3 program. You will be editing in native premiere, I find a much more stable and interface responsive way to work!

THings are looking REALLY good in PC, and ADOBE land.

 

[number6]

Completely awesome! Thanks to the Red Team and the folks at Adobe!!

BTW, does this resolution trick work with all footage (setting to 1/4 res then resetting to native before export)? I have had trouble scrubbing through 1080p PHOTOJPEG footage on my PP timeline lately.

Tom, hate to even bring this up since my memory of it is so vague, but I seem to recall reading somewhere that if you have some sort of CS3 cache resident on the same drive as your operating system, it will fill up and you may not even be aware of the HDD becoming overcrowded with this data and thus slowing it doun. The thing I read (and it may have even been on this forum) stated that you should move that cache to another drive if one is present to gain more HDD room and speed.

Sorry for the lack of detailed certainty, but I have a small head size I've only got room for bits and pieces of info in my brain.:usd:

 

[Hans von Sonntag]

cinewho? I see no need for them now.

Cineform sells a very nice RGB/VUY codec in both flavours (QT/AVI) that has a pretty high fidelity at comparable low datarates. After RAW there must be RGB/YUV otherwise you stuff can only be seen with a RAW converter that converts into RGB on the fly (no full res) when it's RT.

Cineform is an alternative to DPX, Tiff and the likes for all those who don't want to invest in fast and huge raids and/or a Sony HDCAM-SR.

The upcoming Adobe workflow does incorporate native R3D reading but does not make RGB/VUY obsolete.

Hans

 

[david farland]

Approximately 99% of network television programs, and at least 80% of features, are cut in standard definition, using 14:1 compressed Avid OMF files, and have been for some time now. They don't seem to have any problem working in that format, and for the most part, they don't feel they "need" HD at that point in the process. I don't know who your clients are, but I can almost guarantee that they're not any more demanding than executive producers of network television programs and directors of studio features.
Just thinking out loud here.

Execs aside...how did the editor know if a shot was soft (focus) or not in SD?

And as times are a changing and HD is offered along side SD for the same price.....how many of them would now "need" HD?

D

 

[Rob Lohman]

Performance is less at the moment than I'd like. I've spend my whole weekend on getting some better performance out and testers have confirmed it got better.

A big focus on the next couple of months is to get the performance up in all of our applications, including the SDK and this new Adobe importer.

The Adobe importer is sort of a preview to let everyone join in the fun, use it, tell us what does and doesn't work and allow you to see where we are headed and give us feedback on that direction.

It is very much a work in progress that will only get better and better, but it's not there yet.

 

[cinepost35]

I'm sure everyone is more than ready to play and join in the fun at this point if it's sort of a beta preview to test.

 

[Troy Smith]

HI, does anyone know if Encore is resolution independent on export like premiere, or does it treat the r3d like afx does.
Like on the adobe video demo, he brought the clips in to encore at 1/4 res, is it upressing to HD from that, or down ressing
from the original r3d.

Thanks

Stricko

 

[rayzn1123]

I'm pretty sure Encore treats the files the same as AfterEffects and is not resolution independent, so you would have to handle them the same way.

 

[Antoine Fabi]

Performance is less at the moment than I'd like. I've spend my whole weekend on getting some better performance out and testers have confirmed it got better.

A big focus on the next couple of months is to get the performance up in all of our applications, including the SDK and this new Adobe importer.

The Adobe importer is sort of a preview to let everyone join in the fun, use it, tell us what does and doesn't work and allow you to see where we are headed and give us feedback on that direction.

It is very much a work in progress that will only get better and better, but it's not there yet.

Thanks Rob,

I think the whole interest (at least for me) is that it may have the potential to edit, and then process the edited images in very high quality (similar to REDCine and REDAlert.) Sort of very simplified workfow...if i undertand correctly?

Antoine

 

[Rob Lohman]

That would be correct Antoine, quality is exactly like REDCine & RED Alert!

 

[number6]

This is sort of a "Build X" question, but also an Adobe one. Are there any plans to enable the USB device type b to work with something like Adobe's On Location for controlling the camera from a laptop?

 

[Mikael Lubtchansky]

That would be correct Antoine, quality is exactly like REDCine & RED Alert!

In the preview video we can see how importing and editing/rendering will work.

I was wondering about the RAW conversion itself and the ability to set ISO / curves / color balance etc.

Will that be part of the import process in future version of the importer plug-in , a bit like camera raw and Adobe PS ?
Or will we have an 'effect' plugin that we'll apply in PR or AE to tweak those values while keeping RAW data available and editable all the way to the final render ?

I think at some point the PR and AE plug-ins will evolve each in their own direction as the 2 apps do not really work the same way in regard to resolution, proxies etc.

Thanks for this great workflow coming soon, RAW 4K in 32bit AE is a dream come true !

 

[Luis Otero]

OK, then let's get it to test it and help!!!

OK, then let's get it to test it and help!!!

Performance is less at the moment than I'd like. I've spend my whole weekend on getting some better performance out and testers have confirmed it got better.

A big focus on the next couple of months is to get the performance up in all of our applications, including the SDK and this new Adobe importer.

The Adobe importer is sort of a preview to let everyone join in the fun, use it, tell us what does and doesn't work and allow you to see where we are headed and give us feedback on that direction.

It is very much a work in progress that will only get better and better, but it's not there yet.

Rob,

The sooner we get it, more resouces will be willing to help you, so let's get it NOW!!!!

Thanks!

 

[Antoine Fabi]

Incredible!!!!

thanks Rob!

 

[Rob Lohman]

I was wondering about the RAW conversion itself and the ability to set ISO / curves / color balance etc.

Will that be part of the import process in future version of the importer plug-in , a bit like camera raw and Adobe PS ?
...
Or will we have an 'effect' plugin that we'll apply in PR or AE to tweak those values while keeping RAW data available and editable all the way to the final render ?

Still working on that part. We're getting it out as quickly as possible and then work on adding features like these.

Luis: understood, we're working on the last bug fixes that are real show stoppers (image looks all funky)