[Dave]

Crap. All I really want is for RED to come with some better 3D cameras and lights. I don’t think I should need a whole ‘nother ap for that. The bevels and warps might be nice too. But I also plan on jumping up to HD soon, which is why I’m getting a new system, so the whole Blue thing might be moot for me.

[Dave]

Ahhh. Preview with sq pixels needs to be checked in both FCP Canvas and Red. I never even noticed that it’s checked on my Avid system, it’s been years since I messed with it.

[Dave]

Thanks, Peter. I just found the RED vs. BLUE page on the BFX site and you’re right…the aps are sorta the same, yet sorta different. For a grand I guess having both is worth it. Although it seems like they should(probably will) combine them into one killer ap in the future. Boris PURPLE?

That really surprises me about the 16bit vs. 8bit color depth. How much does that hurt when creating for HD?

[Dave]

Thanks, Flip, I’ll give it a look. I remember seeing that option somewhere but not lately. It’s not just an imported graphic but also RED’s text that’s getting stretched. It looks jaggier too on the output monitor. In the end no one but me will be the wiser but I don’t like working in Boris with a squished picture, and I have come to expect razor sharp text from RED, so hopefully that’ll do it.
Thanks again.

[Dave]

Thanks. Unfortunately I don’t own AE or Shake so I guess I’m stuck with the slo-mos. I’m pretty sure that the titles are generated with straight alphas but I wouldn’t know where to check on that. Boris vector text has always looked fantastic on my Avids so I thought that would translate to FC.

I heard that 10-bit Uncompressed would give me better looking graphics and color shading but I’m not sure if it absolutely gives me best quality I can possibly wring out of my DVCAM footage. Can anyone confirm? Thanks again.

[Dave]

Thanks, I guess that makes sense that the filter won’t create any intermediate frames unless I change the velocity. Duh!

However I did try the 24 frame input setting and it just made it look like bad video instead of film. Maybe there’s more tweaking to be done? Is there a big difference whether I use the engine or the host interface?

Dave Groenier

[Dave]

Thanks for the info. I will still have one of my two Avids. I’m actually not worried about sequences, as we don’t do any offlining here. Projects live on whatever system they start on. But we have sooo much stock footage that we just create batch lists that we trade between systems.

Can you tell me more about this ALE export, is that an Avid Xpress Pro function, or do I need some other Avid or aDuck software for that?

[Dave]

Yes, but only when I highlight the end frame and refresh my composite window. Otherwise, upon rendering or exporting it counts to 09:06:04, then freezes for the duration. Last night I rendered another clip starting with 09:06:04 and it froze at 18:12:08. It’s like the generator just times out after that many frames, weird!?!?!

[Dave]

I tried all of those things except the .ini file, which I can’t find. Man, its unbelievable. All my aps were running slow and crashing constantly until I went back to 3.02, now everything is humming along great. What a difference two hundreths of a version can make. I don’t think this release does anything for my system anyway so I’ll wait for 4.0 or something. Thanks anyway.