Joe Murray
Forum Replies Created
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Having worked on Smoke for several years, I would jump at the chance to get back on it for finishing work. It’s an extremely efficient interface and is a truly integrated suite of tools – no “roundtripping” required. If you’re in a market that can support the cost of one of those systems, give it a chance.
Joe Murray
Edit at Joe’s
Charlotte, NC -
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
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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 -
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 -
“…the BluRay licensing is a nightmare, and quite an expensive one at that. Would you crab about it more if they did include it but at a cost of 25% higher price? I think so. ”
Um….no….I don’t think anyone would fault Apple for adding $100 for the additional cost of licensing Blu-ray technology into DVD Studio Pro. Or even $300 if you’re referring to 25% of the full studio package price. $300 is a very cheap price for the added features of this upgrade, but people who use Adobe CS3 are shelling out $600 for the upgrade to that package. I wouldn’t complain about paying more if I got more.
Joe Murray
Edit at Joe’s
Charlotte, NC -
This is exactly WHY I never used LiveType, and why for a while I wouldn’t even use the Boris 3D type tool that’s built in to FCP – because you can not count on Apple to keep these add-ons in place. Once they decide the cost to integrate them into a new version isn’t worth it, they get the axe. And your old project no longer open properly in the new version.
I use the Boris 3D type now but with the knowledge that Apple may kill it sometime in the future.
Joe Murray
Edit at Joe’s
Charlotte, NC -
Did you try uninstalling the Kona drivers? Was that the problem or not?
Joe Murray
Edit at Joe’s
Charlotte, NC -
Check out the Canopus ADVC110 – it’s a firewire interface that will allow you to capture VHS into FCP, then you can switch back to the Kona for monitoring. They cost about $200, less than that if you’re OK going with a used one. There’s really not much point in spending a more than that to convert VHS to SDI, at least from a quality standpoint. I do not think this will work with copy-protected tapes, though…if you need that you’ll at least need to go a different route. Like maybe dub to BetaSP via a frame synchronizer like the FS1, buy an AJA LA which would give you component as well as composite analog inputs, or follow one of the other suggestions in this thread.
Joe Murray
Edit at Joe’s
Charlotte, NC -
[Jerry Hofmann] “Maybe do one station with a 3, and buy Lhi’s for the others? Won’t need all in 2k?”
Thought about when I ordered a K3 last week, but with shared storage I really like the flexibility of opening up any project in any room. With Red proxies this is possible (not with 4K obviously…) so I passed on the LHi. Does look like a pretty sweet deal for its target market though.
Joe Murray
Edit at Joe’s
Charlotte, NC -
Does this mean the LHi would be inappropriate for Red camera project? Or only if you want to export 2K signals to a monitor? For example, could you work in a 2K timeline, but output 720 or 1080 to a monitor realtime with the LHi, or would this require a Kona 2?
Joe Murray
Edit at Joe’s
Charlotte, NC