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realtime issues with Red project
I don’t want to do a full cross-post here but could sure use some help with this one. The entire story is at this post:
https://forums.creativecow.net/readpost/242/2838
and if any of you in this forum have time to take a look at my post in the Red forum I’d appreciate it. I’m not sure if it’s a Red issue or a Kona issue (or most likely, an operator issue) so I started over there.
Gracias.
Joe Murray
Joe Murray
Edit at Joe’s
Charlotte, NC -
5 Replies
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Hi Joe –
how did you get the R3D files into your system? Did you use RedRushes? RedAlert ? Did you transcode these into ProRes422 files?Bob Zelin
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Hi Bob-
Good to hear from you. I have transcoded to Prores as a backup, and those files work OK. But the workflow I’ve been using with no issues, is to simply import the medium resolution proxies directly into FCP, edit with those using Unlimited RT, then send to Color which looks back at the full 4K files.
i’ve also heard that transcoding to Redcode Quicktimes is better than ProRes when finishing with Color, so I tried that workflow. Those files are no more realtime than the proxies.
So I have the ProRes to use for my offline, but I’m not sure how to translate that into a Color project that references the original R3D files. I’d prefer my original workflow, but at this point I’ll take what I can get.
Joe Murray
Edit at Joe’s
Charlotte, NC -
And, to more completely answer your question, I did not use Red Rushes or Red Alert, just transcoded to ProRes using FCP’s log and transfer tool.
Joe Murray
Edit at Joe’s
Charlotte, NC -
Hey Joe-
One way to work offline ProRes and then online in Color with the .r3D files is to use Clipfinder (free download). You can export a Final Cut XML into clip finder and then replace your .MOV files with .R3Ds and then export a new XML to bring into Color. Good luck.
– Mike
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I have not ruled out a problem with the Kona displaying these off-resolution proxies, but here’s why I can’t play the proxies realtime in FCP. Found this in the Red workflow white paper and confirmed the camera was indeed set to MAX. Whatever else that setting does, it also kills realtime playback in FCP:
Turn Off the Cameraʼs MAX Setting Before You Shoot
Thereʼs a checkbox labeled MAX In the PROJECT submenu of the SYSTEM
menu of the RED ONE camera. If youʼre planning on finishing your project using Final Cut Pro and Color, itʼs best to turn this setting off before you begin shooting. Leaving it on may adversely affect real-time performance of RED media in Final Cut Studio.Thanks for all the input. Pass this on to your DP if you intend to try using proxies inside FCP.
Joe Murray
Edit at Joe’s
Charlotte, NC
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