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View Full Version : F Proxies and the FCP Media Manager



acfilms
07-15-2009, 09:08 AM
To all:

I'm in a bit of a newbie bind. I edited a project in offline pro res and now I'm trying to get all of the footage to my colorist who is using a Da Vinci. I used clip finder to replace all of the pro res to F proxies and then used media manager to round up all of the footage. When I looked at the video files it rounded up they all were quicktime movies instead of RD3 files as I was expecting. When I hit command i on one of the files the codec says REDCODE, Timecode and the files have names like the following: A001_C017_080726_F-v.mov Are these files my trimmed RD3's with a quicktime wrapper? I'm confused and have no idea if this is what I'm supposed to be giving my colorist . I want to give him the best thing possible and it appears I'm getting second generation with what I've done so far.

Thanks in advance for all your help

skim08
07-17-2009, 03:04 PM
One way you could confirm that they are really connected to your R3Ds (and not Movs) would be to take a small sequence and send it to Color.

Select Primary In tab
On the right lower side, select RED tab

If the RED tab has values that are modifiable (ISO, Gamma, etc), then, YES they are indeed connected to the R3Ds.

The color correctionist I'm working with taught me that trick.

Hope it helps.

Susan

Nick Shaw
07-18-2009, 01:44 AM
Are these files my trimmed RD3's with a quicktime wrapper?

Technically yes that's exactly what they are. BUT although Color may read them and be able to access the RAW, I am not sure anything else will. I very much doubt a DaVinci could read them at all. There is currently no way to trim the actual R3D files, so if your colourist wants to work from the RAW you need to send them ALL the R3D files used in the edit in their entirety. Clipfinder can help with this. Or you could use Crimson or Monkey Extract to make DPX files of only the used shots

But the most important thing is to talk to the colourist. Ask them what they want.

John Tissavary
07-18-2009, 02:59 PM
To all:

Are these files my trimmed RD3's with a quicktime wrapper? I'm confused and have no idea if this is what I'm supposed to be giving my colorist .

Not exactly... the quicktime wrapper is more like a 'symbolic link' to the original R3D files that allows the Red Quicktime component to debayer the media on the fly. The in and out points on your FCP timeline tell quicktime where to start and stop debayering, but the original R3D files are unaltered.

It's not possible to use media manager in this sort of scenario. As Nick suggested, Clipfinder or Monkey Extract are good tools to use instead.

But: you'll want to find out from your colorist if his DaVinci is able to read R3D files (this is not a given). If his system includes this feature, just give him the drive with all the R3D media on it. If his system does not, you'll have to transcode the media to DPX.

Both Clipfinder & Monkey Extract are capable of this, but if you want a higher quality transcode that does not rely on a simple colorspace & gamma lut you'll either want to set it up manually in RedCine / RedAlert if you have the know-how to maximise highlight and shadow preservation, or hand off the material to someone who can transcode to DPX in that manner.

regards,

John T.

aurelien brentraus
07-28-2009, 05:31 PM
hi,to all,
i want know what is the difference between shooting on 4k or 5k when labs are going to process it on 2k. isn't we shoot on 2k.

Nick Shaw
07-29-2009, 01:06 AM
hi,to all,
i want know what is the difference between shooting on 4k or 5k when labs are going to process it on 2k. isn't we shoot on 2k.

Google "oversampling"

aurelien brentraus
07-30-2009, 06:45 PM
Hi i AM sorry but i checked oversampling but my doubt is still not clear.

Uli Plank
07-30-2009, 11:14 PM
4K of photosites don't give you 4K of resolution (or you would have terrible aliasing). The Nyquist/Shannon limit dictates pretty heavy optical pre-filtering to give you a clean image, in particular with any Bayer-pattern sensor.

So, the RED delivers 3.2 K of true resolution when shooting 4K, which looks gorgeous after downsampling with a good algorithm to 2K. And, BTW, get's rid of some noise too.

Shooting with 2Ks of photosites would give you around 1.6K of resolution.

aurelien brentraus
07-31-2009, 06:43 AM
Thanx man got that.