Russell Lasson
Forum Replies Created
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The video output only changes the output of the video over the video connections on the card. It doesn’t change any of the rendered files.
FCP can’t add a pulldown. After Effects can.
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT -
[Brad Hodgson] “can I nest a 24p sequence in a 108060i one? Will it add pulldown and playback right? “
No. It will not properly add the pulldown. It will add duplicate frames to make 24P turn into 29.97. If you want to properly add the pulldown, try using After Effects or playing out of your Kona card at 29.97 and capturing the footage from another computer.
[Brad Hodgson] “With 108024p material, I understand it is captured in a 60i stream… then when brought into FCP, pulldown removed and edited as 24p material… right? THis is Psf material… and so, my question. “
What camera are you using?
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT -
So are all of these features only available on AT&T 🙁
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT -
[Tom Matthies] “In fact, it is 10-bit uncompressed at 1920×1080 23.98fps! “
It’s a good thing you got your drives working then. Even then, you’re cutting it close if you’re only getting 120MB/sec as 10-bit uncompressed 1080P at 23.98 is about 132MB/sec.
You could always make offline DVCPROHD 720P version of the footage, edit, then reconnect to the uncompressed footage when you’re done.
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT -
Flashing lights aren’t a good indicator of how hard the drive is working. It really is just saying that the drive is working. Sustained playback of just about any footage will cause the lights to blink.
If you want to really test the drives, open up several different files in QuickTime Player and see many files you can playback with out having the video stutter. Or put several clips in FCP an try it.
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT -
Music seems to often be mixed up to 0db. But just to check, bring in the mp3 and compare the levels to the aif, just to make sure you’re not boosting the audio in your process.
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT -
[Tom Matthies] “It’s handling DVCProHD footage right now…but just barely. “
120MB/sec is just barely handling DVCPROHD? How many streams are you trying to play back at once? DVCPROHD at the most is only about 16MB/sec. 120MB/sec should handle it with ease.
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT -
Have you tried going back to an auto-save file?
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT -
[Chris Woods] “1. Just wondering if I have the best computer to work with RED footage. “
No. You don’t have the best computer. The best computer right now costs about $6000 (8-core 2.93Ghz). But your computer should be fine, even if it isn’t “the best”.
[Chris Woods] “2. Do I need a video card like Kona LH or Blackmagic to work with this footage or do I just need it for viewing on an output monitor”
It’s just for viewing on a external monitor.
[Chris Woods] ” I heard if you don’t have the right stuff for your computer, when you export it would take days.”
Video card doesn’t enhance RED playback. Exporting all comes down to processor power.
[Chris Woods] “Also is 6GB of RAM good enough? “
Good rule of thumb is 1GB+ per processor. Four processors and 6GB RAM sounds fine.
For the rest of the questions, I would suggest you first read the whitepaper you downloaded from the RED support site.
Next, you should decide how you’re delivering the footage. DVD? Web? Broadcast? HDCAM SR? Film? Digital Cinema? Also, are you willing to put your time and money into finishing the film in the best way possible? Because with RED, there are a lot more options that with any other digital format.
Here are some of the options:
1. Edit with proxy files in FCP and color in FCP and render out your master from FCP.
2. Convert RED files to ProRes and edit and color using those files.
3. Edit and send the project to be colored in Color.
4. Edit in FCP using offline files or proxy files and export an edl for REDCine to use a Crimson workflow.
5. Edit in FCP using offline files or proxy files and then export an edl for a high-end color grading systems like Scratch that can access the R3D files and render with a full debayer.Having taken several RED projects though Scratch, I think it’s be best option. But it does require more money to do something like that.
If you need to finish this on your own, you’ll look at some of the other options.
I strongly suggest converting all of the RED footage to a “edit friendly” codec like ProRes SQ or HQ, or DVCPROHD. It makes working with the footage much less processor intensive and makes rendering out your files from your timeline much faster than working with the proxy files. I also think FCP isn’t as reliable when editing with proxy files.
To answer your question about the REDCODE codec, it is a read only codec. So while FCP can read the R3D files that are wrapped in REDCODE, you can’t import a file to REDCODE. In fact, if you’re using Log and Transfer, then you’re only option is ProRes.
Anyways, read the whitepaper and then feel free to ask some more questions. If you’re looking to have your film having a digital theatrical release, I can answer some of those questions too.
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT -
Plug in your monitor. Change the monitor system preferences so that “mirror” is not selected. Open FCP. Select “Window- Arrange”. From that menu, you’ll see some dual monitor set ups. Choose one you want. Modify it how you want, then save it as a preset.
It’s really quite simple.
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT