The Proxies... why then?

[cinemano]

Hello

Why were the proxies invented if they cant really be used for editing ?

Why not make a FCP complient proxie which when exporting will use the original R3d files as source..

A bit like the Raylight stuff for hvx..

 

[Matthew Rogers]

You CAN edit with the proxies, it's just not the most responsive of footage. If I needed to edit something in a hurry then I might edit off the proxies, but otherwise it's better to render the proxies out to Prores or something. But yes, it would be nicer to have better files to edit with from the get go.

Matthew

 

[cinemano]

and after editing, when i export with the proxie, does it export from the proxie or from the original RED file?

 

[Matthew Rogers]

It exports a fast render from the R3D file, but that's it. What you need to do a buy the Crimsonworflow program. You edit with proxies or quick renders of proxies, export an xml out of FCP, run it through CWF, export a RED xml and then pull everything together in RedCine. From there you can do a color correct and then export the files to full quality render. Import the RedCine xml export and then roundtrip the footage back into FCP.

If that didn't make sense then go to www.crimsonworkflow.com and watch the video.

Matthew

 

[jimhare]

Another reason for the proxies to exist is to see the footage on set (other than in-camera playback.) Everyone seems to be watching footage on MacBook Pros, which is pretty impressive.

 

[timecodemultimedia]

Jimhare is right. We edited 4 Comcast commercials on a Macbook Pro last month and worked like a charm combined with 1 23' Cinema Displays.
Then used a MacPro for cc, online, graphics, mastering to HDCam / Digibeta and everything else.

 

[Stuart English]

Proxies

Proxies

Hello

Why were the proxies invented if they cant really be used for editing ?

Why not make a FCP complient proxie which when exporting will use the original R3d files as source..

Where did you get that idea from? That is exactly what the proxy is...

 

[cinemano]

ok.. thanks for the clarification i just read some threads of people saying they had trouble editing proxies which was why i asked but it seems to differ for different people

 

[timecodemultimedia]

ok.. thanks for the clarification i just read some threads of people saying they had trouble editing proxies which was why i asked but it seems to differ for different people

Remember that the proxies are good for CUTS only. If you are planning to do any creative editing, you will have to convert all or most of your footage first which can be an insanely time consuming task. I have come up with a new service for that reason and for RED users with no time to waste.
Click the signature link and go to the RED page...

 

[Chris Parker]

any tips on how much (or more likely how little) creative editing can be done on transcoded QT prores proxies BEFORE running it through the crimson workflow? is it best to just do a 'cuts-only' cut, then run it through, and do the creative editing with the final shots?

how does crimson handle clips with f/x put on them (speed changes, cross dissolves, etc. etc.)?

 

[timecodemultimedia]

Once the fooatge is converted to prores you can do anythng and everything you want. Is the work with the RED camera generated proxies that is cuts only.

I have not used Crimson yet, but common sense tells me that it only works when used with the camera proxies (cuts only) as it will pull the proxies XML - FCP metadata to pull the files.
If you convert to Prores to edit, you will lose all data connections to the original R3D files and most likely will be a labor of love to recollect and manually convert the R3D fiels to a better online, CC and finishing format.

 

[Greg M]

we edit from proxies all day long everyday.

 

[Chris Parker]

you can definitely work with crimson after editing in final cut with transcoded prores QTs. this is for sure. you don't NEED to use the camera-generated proxies to work with crimson.

i am curious as to how much you can do in your cut before running it through crimson.

 

[Scott Simmons]

you can definitely work with crimson after editing in final cut with transcoded prores QTs. this is for sure. you don't NEED to use the camera-generated proxies to work with crimson.

i am curious as to how much you can do in your cut before running it through crimson.

I just finished a video with tons of dissolves and wipes. I cut with Pro Res HQ converts, pulled DPX files through Crimson (never touched the POS RedCine) and it worked like a charm. It pulled proper handles so the online had plenty of room to work with. The only problem was with subclips in FCP. Once I replaced them we were good to go.

 

[ilinx]

I just finished a video with tons of dissolves and wipes. I cut with Pro Res HQ converts, pulled DPX files through Crimson (never touched the POS RedCine) and it worked like a charm. It pulled proper handles so the online had plenty of room to work with. The only problem was with subclips in FCP. Once I replaced them we were good to go.

What problem did you have with subclips. Do you mean having subclips at all doesn't work?

Thanks...

 

[Dylan Reeve]

I still have problems playing the proxies in FCP, but I haven't really spent all that long trying to make it work - we generally edit in Avid (from the proxies)....

 

[Shawn Booth]

I just finished a video with tons of dissolves and wipes. I cut with Pro Res HQ converts, pulled DPX files through Crimson (never touched the POS RedCine) and it worked like a charm. It pulled proper handles so the online had plenty of room to work with. The only problem was with subclips in FCP. Once I replaced them we were good to go.

IMO RedCine is no POS - Works like a charm.
Convert to UC10bit and then edit in Final Cut like before. No offline/online.

Love RedCine just as much as the camera.