Russell Lasson
Forum Replies Created
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The file was created using the log and transfer to import footage from the RED camera. You can’t play it because you don’t have FCP 6 (that introduced ProRes to FCP). You might try downloading the ProRes decoder from Apple’s website. It’s a free download. Then convert it to the format you want or see if you can import it into FCP.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
[Neil Fergusson] “I am going to transcode to a special preset Red suggested which is basically a variation on the ProRess.”
So are you using Log and Transfer to ingest the footage to ProRes? Will you finish with those files or reconnect back to the RED files for finishing and color correction?
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
I believe if you’re going to use an H.264 file for blu-ray then Adobe’s suite will compress it correctly. Compressor currently doesn’t support the right H.264 profile for blu-ray.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Universal Post
Salt Lake City, UT -
[Michael Nikitin] ” a Canon XL H1 at 1920X1080i, at 24 fps.”
The Canon will record 24 fps over 60i by adding some sort of pulldown. I’m not familiar with the camera, but there are two types of pulldowns that cameras use, 2:3:2:3 or 2:3:3:2. If it’s a 2:3:2:3 pulldown, just remove the pulldown using Cinema Tools. If it’s a 2:3:3:2 pulldown, then just remove the pulldown as you capture the footage.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Universal Post
Salt Lake City, UT -
What are you delivering 1080P to? Is it for a film out or digital cinema print? What 1080P frame rate do you need to deliver to?
What type of 1080i are you shooting? Can the camera shoot at 1080i with a 2:3 pulldown? What camera is it?
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Universal Post
Salt Lake City, UT -
Thats sounds about right, but you shouldn’t go over 4000 pixels. Also, don’t go any bigger than you have to because that can really start to bog down FCP.
I would much rather use AE to animate pictures then render out a video for FCP.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Universal Post
Salt Lake City, UT -
I haven’t had an error like that since I was using Compressor 2. What version of Compressor are you running?
Quick google search brought up:
https://support.apple.com/kb/TA47672
and
https://www.macosxhints.com/article.php?story=20051017072758916
Hope that helps.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Universal Post
Salt Lake City, UT -
[joe hedge] “Let me ask, a) if you’re getting full framerate playback w/o stuttering in the timeline, “
I guess you missed the part were I said I didn’t like editing with proxies, so I convert them to small offline files (like ProRes 720P) for editing. So of course I’m getting full frame/full quality playback. I can do that on an internal laptop drive if I want.
Then when you’re done with your edit, bring in the final files that you’re using as “native” through Log and Transfer. Now reconnect your sequence to the “native” files and then send to Color.
Or just send me your edl and your RED files and I’ll finish it on Scratch for you:)
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Universal Post
Salt Lake City, UT -
Many projects I work on finish to 1920×1080. That’s why I don’t like 2048×1024. First off, you have to scale the image to get it back to 1080. Why take an image that was captured at 2048 vertical pixels (at 4K 2:1) and bring it in at half that resolution (1024) just to then scale it back to 1080? It’s just messy.
If you finishing to 1920×1080, just shoot 4K HD so FCP will make a nice 1920×1080 image out of the R3D file. That sounds better to me:)
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Universal Post
Salt Lake City, UT -
I’ll just add a couple of quick things.
I really like editing in ProRes compared to the proxies. If you’re just using these as an offline edit, you can just use ProRes SQ instead of HQ. If you use REDRushes, you can even compress it at 720P which can be very edit friendly.
So how are you going to color correct the project. We use Scratch all the time and all you need to do is kick out an edl. Very slick. If you’re going to use Color, the key is to keep the file names without any of the proxy extensions (_M, _H, _P, _F). That way, you can just reconnect to whatever file you want. Using this method, I’ve created small edit version of RED files using REDRushes, then reconnected them to the Native QT wrapped R3D file that you import using Log and Transfer. From there, you can import your show into Color and see the R3D files. It’s really pretty slick.
One thing I don’t like about Log and Transfer is that it only scales by a factor of 2. So depending on if you shot 4K 16:9 or 4K HD, you’ll end up with files that are either 2048 pixels wide or 1920 pixels wide.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Universal Post
Salt Lake City, UT