[Eli Mavros]

So apparently the red footage was shot at different resolutions. Why is it that the few ProRes Proxies that I do have can’t be put on the same timeline when they have different resolution? This should be doable. I am using the Prores (proxy) codec.

Eli Mavros

[Eli Mavros]

Yes, log and xfer IS VERY VERY SLOW! I want to leave the option open to go back to the R3D files, because it is going to be color corrected at a facility (I assume on a daVinci) and I want the colorist to have access to everything, such as the exposure. To be honest I don’t even know if daVinci supports native Red, or if I’m gonna have to give him dpx files or something out of Color. I tried last night to ingest over night, and when I came into the office today, the ingest crashed. This is taking me so much time to convert this crap (the weird thing is I’ve done it in the past and don’t remember it being such a huge hassle, but I am working with longer clips than I have before). Red Rushes is moving along so much faster because it takes advantage of all the processing power of the computer, but I’m just afraid about how I can conform it back to the R3D files later. With log and xfer I can just make the clip offline in my fcp browser and “batch capture” to Redcine or Prores 444 (right now I am transcoding to Prores Proxy…which I have never done before, and don’t know if thats why it is taking so much longer cuz it has to do more compression or something). I would like to stick with this workflow as I know from past experiences that it works well, but I just can’t believe how long it is taking to ingest/transcode.

Would it be faster for me to bring everything in as Redcode (which is super fast using log and xfer) and then media managing it to a prores proxy project? If I do this, does media manager use compressor for this, thus allowing me to use a processing cluster?

Thanks for the help,

Eli

Eli Mavros

[Eli Mavros]

Does it take longer to transcode to ProRes Proxy than it does to transcode to ProRes 444 using Log and Transfer? Would it be a better option to bring all the footage in at Redcode and then media manage the project and make a ProRes Proxy clone of the project? Also, Red Rushes seems to move a LOT faster than log and xfer, but if I want to recapture the clips I can’t, and reconnecting to the Redcode footage doesn’t go smoothly either, because the reel name is different (Red Rushes seems to make the reel name the clip name).

Thanks,
Eli

Eli Mavros

[Eli Mavros]

Thanks for the response Matt. Unfortunately the project that i was working on when I had the reel problem was a while back…when i have some down time, I might try to recreate the scenario (though from reading the manual it doesn’t seem like there is any affiliation between the subclips and the masterclips that would allow me to do this). As for my solution about the sync issue, i gave it a whirl but it didn’t work. Even though the length, number of tracks, etc…didn’t change, fcp gave me a warning when i reconnected my master and sub clips to the new media file that there was a difference in length and reel name and that some things may be off. when I opened the subclips they had all lost their subclip limits.

Anyone have any other work-arounds that might work?

Thanks,
Eli

Eli Mavros

[Eli Mavros]

…from what I’ve read in the manual, it seems like this is a pipe dream, but maybe someone has a work around? One idea I have is to make the changes to the master clip, export it with the same name, and reconnect the master and subclips to the new media file. This seems a little bit of a jerry-rigged way to do it, but in theory should work. Thoughts?

Eli Mavros

[Eli Mavros]

Ok, cool. Then I can hit control+w to close the tab once I have created my bins. I like it. Thanks.

Best,
Eli

Eli Mavros

[Eli Mavros]

Sometimes its the little things in life that make you happy. Some reason I never thought of that (I always assumed it made a folder in the root of the browser)! Thank you very much Roli, this should be most helpful.

Just curious though, is there anyone out there that knows a keyboard shortcut that will create a bin inside the bin you have currently have selected? Now I’m just being fussy…but I like to use the mouse as little as I can. If not, Roli’s mouse solution will do just fine.

Thanks,
Eli

Eli Mavros

[Eli Mavros]

Thanks for the insight guys. Jerry, strange thing is, a co-worker is claiming to be having some gamma issues he thought he had solved, even though he is running Snow Leopard. Dan, helpful articles…I actually just had to deal with this whole gamma problem when working on a Turner project! Think we got it all squared away for that one, just looking to get a grasp on this whole thing for future projects.

Thanks,
Eli

Eli Mavros

[Eli Mavros]

Hey Bob,

There would still be a generational loss even if you are sticking with the same codec, no? I have been mostly working with ProRes for the past year or so, but I remember that when I mostly worked with Apple 10bit, if I had a 10bit movie and exported it as 10bit using the “export using quicktime conversion” setting, and then A/B’d that export and the original, there would be a very slight difference sometimes…hardly noticeable, but there none-the-less.

Best,
Eli

Eli Mavros

[Eli Mavros]

Yeah, I’m working in ProRes HQ, and using the ProRes HQ setting for the transcoding. I am super anal about generational loss…but I need to get over that I guess 🙂 Footage still looks good, even if there is a generation loss. I don’t think it is a problem so much these days, as long as you don’t do it too often.

Thanks,
Eli

Eli Mavros