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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 :)

Talking about the plugin...

O

Obin Olson

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Stay tuned, we may be at the RED USER GROUP meeting in LA on Sep. 6th to talk about our workflow with finishing Fatal Flaw on CS3 and the RED plugin.

Exciting stuff!

:)
 
WELL?????? out with it man!!! we need to know!!...please?
 
Its a really great way to cut and finish red. As easy as working with mini dv
:)
 
Did you used 1/2 res for simple cutting on Premiere?

How about After Effects work? Is it easier to change res than having to go to Premiere and changing there like shown in the sneaky peek video?

Are you on NDA and can't tell me jack?
:sorcerer:
 
One thing VERY nice for people out of time and or money is the fact that RED is programming the plugin to work correctly with some of the Premiere color tools, the 32bit tools anyway. For example we are doing an online colortime INSIDE premiere right now for Fatal Flaw as we are out of time to export and go through all the steps of working in a separate application, something that with other formats like DVCPRO just never really cut it.

Curves for example look just as good in Premiere as they do in RedCine.

Only downside is 8bit output, but again, this is CS3 and AfterEffects can open the project anyway, not sure our color time will come across in AfterEffects though. We are making a D-cinema export of 8bit tiff at 2048x858 for the screening --- so far the shots look fantastic, no problems with sky gradients or banding in any of the footage.

Hitting the global button for resolution is very revolutionary in concept and workflow. It's really a fantastic way to work as it allows you to edit in realtime and at the same time toggle to full online master quality for color grading....knowing that as CPU power increases so will the resolution of your realtime playback

I will try and post some example grades here at some point soon.

The only thing left is a codec for DI work, and I think that Cineform fits that bill well. We will be using Cineform as the DI codec and editing with the RED importer from here on out. It's just that easy and simple.


Only thing left is HDSDI output with RED, and again if your Cineform all you have to do is load up a Cineform project/preset, load in your r3d files and render your timeline, now you get best of both, realtime HDSDI after render, and import of raw red files. This is a workflow I can live with for now.
 
Hi Obin,

Sounds great,

One question, when you say downside is 8 bit output, couldn't you just
export the sequence to cineform 12 bit 444 rgb?

Rendering to tiff 8 bit, what is the reason its limited to 8 bit output,
is that a cs3 limitation? or just that there is no native exports within premiere
that support 10 bit? Meaning if you export to cineform as I mentioned above you get 12 bit, or is it getting crunched to 8 bit before export to whatever codec you chose, so even if you do use cineform export, it still goes to 8bit before hitting the cineform codec?

Thanks
Stricko
 
kinobairn said:
Why don't you click "Use maximum bit depth" and output quicktime none? That will not limit you to 8 bit at that point.
Click to expand...

What bit depth would it be in the case of
qt set to none with max bit depth on?

I'm trying to understand all this, and from reading about this subject at creative cow, it seems that unless you have a 3rd party card in your system like aja etc that has it's own 10 bit projects (or perhaps cineform project, 12 bit), premiere always crunches the data back down to 8 bits before exporting if your editing mode is desktop, which is the editing mode for editing with r3d files. The "Use maximum bit depth" just renders effects at max bit depth that support float processing, but then it crunches back down to 8 bit for export.


Hopefully Obin can clarify what the actual fact is with the 8 bit issue.

Any help appreciated getting to the bottom of this.

Thanks
Stricko
 
It looks like your correct, but I can't say for sure. Maybe David N can chime in?

David When we "render" out to cineform from desktop mode is it in 8bit?

stricko108 said:
What bit depth would it be in the case of
qt set to none with max bit depth on?

I'm trying to understand all this, and from reading about this subject at creative cow, it seems that unless you have a 3rd party card in your system like aja etc that has it's own 10 bit projects (or perhaps cineform project, 12 bit), premiere always crunches the data back down to 8 bits before exporting if your editing mode is desktop, which is the editing mode for editing with r3d files. The "Use maximum bit depth" just renders effects at max bit depth that support float processing, but then it crunches back down to 8 bit for export.


Hopefully Obin can clarify what the actual fact is with the 8 bit issue.

Any help appreciated getting to the bottom of this.

Thanks
Stricko
Click to expand...
 
playback in realtime is tricky at this point and being worked on all the time. I can get 512@realtime my brother on a quad qx6700 overclocked at 3.2ghz can sometimes get 1024@realtime, sometimes meaning on a good day :)
 
THanks for the response Obin,

For your screening, are you feeding the projector over dvi from laptop, or are you taking your tiff sequence and making a dcp from it. The whole D-Cinema thing is getting exciting.
 
DCP master files, 8bit tiff, 2048x858

The whole D-cinema thing looks so much better then film prints.
 
Pretty sure all exports are 8bit :( sucks too...

I guess the idea here is EDL or AfterEffects premiere project import......
 
obin said:
DCP master files, 8bit tiff, 2048x858

The whole D-cinema thing looks so much better then film prints.
Click to expand...

Did u use qube master to make DCP? Or can the digital players at the
theatre just play the tiff sequence, I'm sorry if this seems like a stupid question, just trying to grasp it a bit, I'm calling qube on tuesday for pricing and wanna know as much as I can before then.

As far as the 8 bit, perhaps Cineform project is the way to go to keep it all at 12 bit? Although editing straight from r3d is cool.
 
obin said:
Pretty sure all exports are 8bit :( sucks too...

I guess the idea here is EDL or AfterEffects premiere project import......
Click to expand...

What ?????

Cheeze...i bought CS3 thinking it was 32 bit internal, and 10 bit outputs for RGB files...


Antoine
 
If you use the CineForm AVI/MOV Export module, it requests 32-bit float from the importer/timeline, I don't see any reason why desktop mode wouldn't honor that and give 8-bit instead. 8-bit data will occur if you have any 8-bit filters, this is why in the CineForm presets we allow you to display if any of the filters force 8-bit on your output.
 
David Newman said:
If you use the CineForm AVI/MOV Export module, it requests 32-bit float from the importer/timeline, I don't see any reason why desktop mode wouldn't honor that and give 8-bit instead. 8-bit data will occur if you have any 8-bit filters, this is why in the CineForm presets we allow you to display if any of the filters force 8-bit on your output.
Click to expand...

That's great news david, so we can export straight from desktop premiere
to your codec and have a 12bit master straight out of premiere, good stuff.
 
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