Angelo Lorenzo
Forum Replies Created
-
Do you have After Effects? It has a rudimentary Project import/export that may be an option as well.
Angelo Lorenzo
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 -
Look at:
https://lesterbanks.com/2011/12/expression-driven-captions-in-after-effects/https://www.ithowto.ro/2008/12/adobe-after-effects-subtitle-script/
The latter may be the better choice for you. You create markers each time you want a caption to appear and the script applies the caption content from a text file. You could create localized text files and apply them to a few copies of the timeline once you’ve created your timing.
Angelo Lorenzo
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 -
Start a new project, go to Import and import the troubled project. You’d be surprised how often this fixes projects that have issues loading… it’s my first step in these situations.
Angelo Lorenzo
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 -
Each title block is discrete. If you use the same title from your bin in 10 sequences and change that title it will change across all sequences just like you’ve experienced.
If you clone it in your media library (your main asset panel, usually on the left) then you have a new discrete copy to work from that has the same attributes as your original copy as a starting point (placement, font and so on)
Alternately, if you have After Effects you’ll have much finer control over titling with expressions and scripting that can make localization much easier.
Angelo Lorenzo
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 -
Yes, some people do edit in 1080p with proxy files. On the flipside, later in the process these are replaced with the 5K files usually during effects and color correction. If you’re thinking about a 4K deliverable, you’ll be working in full resolution in After Effects or at least working in proxy and scaling up.
With all troubleshooting: simplify and then build up.
Start a new project, bring one RED clip in and create a comp. Try to render out to your desired output and try rendering an alternate output like h.264. At this point we just want to make sure things work, period.
Generally, if the output is stuttering, my first guess is that you’re using multiprocessor rendering and are applying an effect that doesn’t play well with it. These do exist: Neat Video, for instance, will crash your render in multiprocessor mode.
What is the Sundance deadline anyways? Isn’t Sept 30th the late late deadline?
Angelo Lorenzo
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 -
Any effects applied?
Angelo Lorenzo
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 glanced over it, so you’re getting multiple MXF files for the video and the two audio channels correct?
https://forums.creativecow.net/thread/3/929467
“Sorted the problem. For people who run into this problem, copy the footage back to the FS100 hdd into the folder with the long code. Then in the settings in the hdd, click organise hdd and also repaired hdd. Then connect to pc and import straight into premiere from the hdd. Worked for me anyway.”
Seems to be some ingestion quirk.
Angelo Lorenzo
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 -
Hmm, little fun fact: Speedgrade’s video output on your computer monitor does not respect monitor calibration .icc files in Windows 7 or Mac OSX. https://forums.adobe.com/thread/1035403?tstart=0
I’m not certain if that is the case or not with helper applications like the Spyder Pro’s loader application that applies a profile after start up.
In terms of using an I/O box vs a graphics card, you’ll probably get near the same results but it’s all a trade off. I/O boxes obviously have the advantage of capturing, they have more output types, you can switch more easily between video resolutions.
One of the big gotchas is that if you use an I/O box you’ll need two monitors: one for your system and one connected strictly to the I/O as video monitoring.
If you do go the dreamcolor route, yes keep it in sRGB mode.
Angelo Lorenzo
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 -
To elaborate on Todd’s post:
He is correct about IR sensitivity. All sensors are sensitive to it but to a small degree, since mostly all modern sensors are coated with a hot mirror filter: a filter that blocks IR light.
There are some Sigma DSLRs that are prized because they have a removable IR filter. Third-party companies can also modify some existing dslrs for IR photography.
You can, of course, shoot IR photography currently but exposure times will be insane.
Hoya and other companies make screw-on IR filters that block most normal light. These were common even back to shooting IR film… something like a Hoya RM-72.
https://irbuzz.blogspot.com/2007/03/ir-for-beginners-my-dslr-is-not-modded.html is a decent enough pro/con primer if not a little bit of an old article.
Angelo Lorenzo
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 -
Are you going into the P2 folder and dragging clips directly into your project/bins? If so, this is not how tapeless media ingestion (P2, AVCHD, XDCAM, RED, etc) is designed to work. It’s a common mistake, so I default to it.
Should be of help, my personal knowledge of CS4 is a bit hazy from time but it looks like the process is still the same as the more modern CS6.
Angelo Lorenzo
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