Angelo Lorenzo
Forum Replies Created
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Try this:
– Sync in Redcine-X, export as an intermediate format of decent quality (ProRes std or Avid DNxHD 175) with full quality production audio.
– Edit as needed
– Unlink audio
– Reconform video to the RED files as you enter finishing
That’ll probably be the easiest way to work with RED files while still having access to production-quality audio.
One drawback: The sound tracks are named after the video file, not much metadata (if I recall) that will point back to the original files.
May work for you.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
There is currently no way to gain access to the external audio synced by Redcine-X within Premiere Pro. As to if that’s Adobe’s fault, I don’t know; it could also be a major limitation from RED as to what other programs can access via their SDK.
Merging gets really weird quickly. I have an internal app that will break merged clips back to their originals but because of Premiere’s project format, it just barely works enough to be useful and I haven’t tried running large complicated projects through it.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
It’s usually a monitor setting like scale:off or 1:1 or real pixels. It will be set on the monitor if the HDMI sending 720 and your monitor is blowing it up (monitor setting will fix) or your HDMI is sending 1080 and you don’t have a choice until you get a proper output box.
That’s my 2 cents.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
You may find this helpful for future projects https://www.fallenempiredigital.com/blog/2012/07/29/batch-reload-redcine-x-rmd-raw-adjustments-in-adobe-premiere-pro/ It allows you to run your Premiere Project and batch reload all metadata changes rather than hit reload on files one by one.
As to why AE isn’t updating dynamic link, you need to update the source file within AE. Right click the RED file in your AE bin and go to Interpret Footage > Main… and you’ll get a window with a button in the lower left marked “more options” click it and it will be the same RED editing window as Premiere. Reload from there.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
The others have you covered, but I wanted to point out that since you’ll have Thunderbolt, you can get a PCI card carriage eventually if the need ever arises.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
Ah, I forgot about that one… been a while since I installed CS6
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
Ah, yes, it looks like our blog comments were down for a week thanks to a non-functioning spam filter.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
After Effects uses Quicktime’s installed codecs when exporting to MOV. If you set up an export format as MOV, look at the list of codecs. If nothing seems new or is marked with “Elgato”, etc. etc. then chances are you cannot access it from After Effects. You may want to contact Elgato and request that it be accessible like other Quicktime codecs for ease of use.
If that is the case you may want to export as ProRes and then use Elgato’s software. ProRes seems to be pretty easy on the CPU, so it shouldn’t add a lot of overtime to the actual video render (effects, layers, and so on).
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
No, there isn’t anything to solve your issue perfectly. The human voice is frequency rich which means there is a lot of cross talk with instrumental frequencies (the whole reason singing to music sounds so good is the same reason you can’t easily separate the individual sounds)
Here is what I recommend:
1) Rubber lip it. Use the audio from one night and then edit pieces from the other nights to line up as best you can. You’d be surprised how forgiving this technique can be
2) You can try taking a noise reduction profile in Audition, cranking the noise reduction line to 100% and then drawing a dip in the graph to keep some vocals. This works…. ehhhh. It also tends not to affect much in terms of percussive instruments. Noise reduction is just a frequency selective noise gate. Last resort.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
You are correct, DPI means nothing unless you are outputting to a variable resolution output a.k.a. a printer.
DPI is basically a flag in an image and changing it does not change the width x height resolution. What confuses the issue with Photoshop users is that, by default, the image resizing function will allow adjustments to DPI to also affect the pixel count, thus maintaining print size. This can be disabled, but no one seems to bother.
With that said, you are looking purely at pixel resolution. 4K is 4K at any DPI. You should have your background artist work in this width x height resolution and ignore DPI.
Further reading:
https://www.rideau-info.com/photos/mythdpi.html
https://www.danrichard.com/2006/03/23/to-print-or-not-to-print-making-sense-of-the-dpi-equation/——————–
Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks