Russell Lasson
Forum Replies Created
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What camera are you using? Also, what capture card do you have in your edit system.
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT -
You might consider fitting the 2000×800 file into an anamorphic 16:9 SD timeline (720×480 with anamorphic 16:9 checked). You should also turn motion filtering quality to best under sequence settings – video processing.
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT -
To create new proxy files, for a whole drive, it only takes about 30 seconds to a minute.
Here are the basic steps:
1. Import all files
2. Select “No Resolution Ext (_F,_H,_M,_P) under the QT Wrappers – Options menu
3. Change Destination folder under QT Wrappers – Destination Folder to Output Folder
4. Under Output, select folder to output proxy files to. I would suggest naming the folder with the type of proxy file that will be in it.
5. Now under QT Wrappers, choose the type of proxy file that you want to export. Don’t choose make all wrappers.
6. From there, you can create another set of proxy files at a different resolution. Because each set will have the same name, you can you FCP reconnect media to force connect to the different resolution. Then if you change your sequence settings to match the new resolution, you should be in good shape. You can also reconnect to the new Log & Transfer files if you have them around.
There are a lot of options.
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT -
Using Log and Transfer with RED footage is intended to be used when first copying the footage from the RED drive on to your computer. After you bring it in, then you backup the RED files for archiving.
Anyways, I’d suggest you use RED Rushes to create proxy versions that don’t have the “_M” in the name. That way you can reconnect the your sequence to whichever proxy or imported RED file through Log and Transfer that you want. This way, you can edit with the _M proxies and then reconnect to the _H proxies when you’re done so Color is seeing the 2K image instead of the 1K version.
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT -
Which ever you get, I’d suggest 4GB of RAM. I think that the 8GB if you go with the 17″ isn’t worth the extra $1000.
I really like the 15″ size, but if I were editing all day on it, I’d probably go with the 17″ instead.
Any processor will work fine.
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT -
Sorry I replied. You changed the name of the subject and it threw me off:)
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT -
I’m not in front of a Kona 3 right now, but you need to change the input to dual link in the AJA control panel. Try right clicking on the input, does that allow you to select dual link?
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT -
You’ll want to look at the specs, but we play back H.264 files on it and it works great.
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT -
FCS2 will run fine on a single quad-core machine, but I would definitely pony up the extra $800 for the dual quad-core machine. It will extend the life of the machine by at least a couple of years because of the extra processing power. Plus it will hold it’s value much better if you try to sell it later. Not to mention the fact that you can export stuff out of compressor much faster!
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT -
First off, check out the RED FCS2 Whitepaper on the RED support page.
Next, technically you need to import the R3D files using the Native setting in Log and Transfer. This will re-wrap the R3D file so it will connect properly throughout the workflow.
If you use the re-wrapped proxy files, then everything should work right. Just follow the steps in the RED FCS2 Whitepaper.
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT