[Stephen Lovett]

Hi Alex,

Thank you for the pointers.

Unfortunately the information enclosed didn’t lead to a resolution for a couple of reasons.

I checked the setting and Subject was already enabled within the meta data menu/tab.

Plus these folks are talking about working in Bridge which doesn’t support browsing R3D data, and is being deprecated in the next version as far as I know.

It sounds like Prelude coming in CS 6 is what I’m looking for, I guess I can load the clips into a project…

Steve

[Stephen Lovett]

My GTX 285 came with appropriate cables.

The Quadro series are likely a better answer in general, but on the Mac side the drivers can be problematic. The current release seems to be relatively well behaved.

New cards from Nvidia coming soon as well, NAB is just around the corner…

Steve

[Stephen Lovett]

Hi,

I can’t speak to the FX4800 as I don’t own one, but I do own the other two cards.

The data I’ve seen indicates that the GTX 285 is actually a bit faster than the Quadro 4000, but they are pretty hard to come by now. I’ve had good luck the MacVidCards on eBay.

As a practical matter, I find the performance pretty much indistinguishable.

There are a few other things you’ll need to consider as well. The Quadro 4000 is a one slot card, so it’s easier to fit into a complex setup, where the GTX 285 is double wide and will only fit in slot one as it’s the only double wide slot available in a MacPro.

You’ll also need to assure that you have sufficient power and connectors for the card you choose.

Stephen Lovett

[Stephen Lovett]

Hi Oliver,

Thank you very much.

You’ve got it in one, I’m using Nick’s Antler plugin. (I got to work with Nick briefly in the UK last year, and he’s a very smart, very nice fellow)

I’d rather avoid all the extra handling going the FCP route but I like your Colorista idea, and it so happens that we already own a license for Colorista II.

I’ll give that a try, and thanks very much for the excellent idea.

Steve

[Stephen Lovett]

Thanks to both of you.

I thought I’d tried exactly the steps that Aaron details here and to no avail. It was a super hectic day on set, the camera crew had a bit to much to drink the night before so there were some operational errors that complicated my job, and so it was very likely pilot error on my part.

I’ll verify the process this week. Thanks for setting me straight.

Robb… I’m so with you, you are preaching to the choir. I have the ability to host streaming and download versions of dailies on a password protected minisite and the Rocket allows transcodes to many file types near real time.

But this particular client absolutely insisted on old school DVD’s. I suspect my on set one light may be the total extent of their color grade (shudder) and they wanted to see what their final output would be.

Going forward I think I’m going to institute a surcharge on this to force the issue more.

It’s a pita and it just doesn’t make any sense, particularly when they are bearing the cost of several fedex shipments a day and not getting to see anything until the next day.

You can lead a horse…

[Stephen Lovett]

Hello Jefferson,

Congrats on the project.

While RED isn’t necessary for the web, it will deliver beautiful images and give you much more latitude in both exposure and color correction than the other options Steve mentions. So no worries.

Your instincts are good. Stick with a 4k format, 2k on the RED has a tendency to go soft. In your situation I’d do the following.

Use a newer build that supports the new color science, choose RED Color and RED gamma. https://www.red.com/support/index

Do a one light from the .R3D’s in REDCINE-X using the same color and gamma settings, and export/transcode to ProRes. It’s really best to do a full debayer. I’ve got a Rocket card so this is painless for me but without one the transcode is an overnight exercise. If time is of essence and you can’t budget for a DIT/Post then do a half high debayer.

Work like you always have from there.

[Stephen Lovett]

Thanks much Terry,

I’ll check and see if this shortens transcode time from the double rotate. I’ll bet it does

Is there a way to set the default state of the flop filter to vertical?

Thanks again,

Steve

[Stephen Lovett]

Thin end of the wedge.

I’ll happily spend the money for any solution to provides radically faster transcodes for h.264 -> ProRes, and MPEG-2 encoding.

I agree the playback engine will excite a lot of folks, but between the Kona and the RED Rocket, playback isn’t an issue for me.

But with the rise of DSLR footage I’m seeing, transcode speeds are.

I agree that PP CS4 isn’t ready for prime time. But even though buggy I use Encore instead of DVDSP quite a bit, and that happened because Adobe gave me blu-ray still missing from FCP.

Adobe needs to fix bugs, fix bugs, deeply integrate their applications, but IMHO, the last release was a big step forward.

Oh, and make flash suck less.

But I’m not counting them out.

Steve

[Stephen Lovett]

Michael,

Thank you, Thank you, Thank you!

It helps more than a little.

Not reaching for the mouse to bring up that window will save me hours and hours.

We’re in the middle of a remodel, so its going to take some digging to find the manuals. I left Lisa Brenneis’s book out, but this time she failed me. (An unusual occurrence, her guide and Larry Jordan are my go to guys)

Michael to the rescue. 😉

All the best, and thanks again,

Steve

[Stephen Lovett]

Thanks for the response Greg.

If one has the ability to route video back to a central location, as in your example the Comtek’s would be ideal.

In many of venues we work stringing a bunch of HDSDI cables hundreds of yards back to a booth isn’t feasible.

The Anchors look like they kinda sorta might work, but the camera folks are gathering wild sound concurrent with their camera work. The Anchor headsets look bulky, but I’ll arrange to see them in person.

So far the old school Moto’s with Klien headsets have the lead.

Thanks for your input,

Steve