Help with Red FCP plugin

[Diego Querzoli]

I Apologize if in the end im doing something very stupidly, but im trying to log and transfer from REdcode source format to native so i can edit in FCP and the resolution is above the one FCP can handle in its architecture ( I read in a few places that FCP will only function in full with files up to 2K...and my clip properties show 3K)...

Also, I cant find the best way to work from redcine_x, I used to be a photographic retoucher and Im used to get the most out of the RAW format so i can have a wider range on photoshop, so i try to take the R3D to a certain level before editing it and processing it to apple prores to start editing... i feel thats not the best way to work, can someone shed some light im my innocent workflow... i have searched options on previous post for the past 62 hours but its getting hard to find oneself in the middle of so many threads ... PLEASE HELP WITH WORKFLOW OPTIONS!!!!

thanks a lot in advance

DiegoQuerzoli, still green but eager .....

http://reduser.net/forum/images/smil...withstupid.gif

[Kaku Ito]

It's faster to edit with proxies, especially with 1K resolution.
Download the Clipfinder (the free version should be okay), the load up the footage, set the resolution in the list as 1/4 size, then drag the clip you need on to FCP. That way you are editing from the RAW files "through" proxies. To edit without rendering, you must turn the unlimited RT option on in the timeline of the FCP. Then do the cut editing, after you are done, then send the timeline to Apple Color. Apple Color will automatically refer to the RAW portion of the footage, then you can grade with most of the R3D metadata, along with the primary and the secondary rooms of the Color.

Render out to whatever format, uncompressed, ProRes, DPX, but if you use QT format then you can send it back to FCP for further online editing.

Hope this helps.

[Diego Querzoli]

arigato gosai massu Kaku sama!!

thanks for the reply, i'll be sure to try this today... BTW love tokyo... miss your country always

kiotsu kete

best Diego Querzoli

[Kaku Ito]

Doietashimashite, Diego-san,

Read this thread if you run into Color loop bug which you send the timeline from FCP to Color then some clips show freeze frame (clips with multiple R3D files because of 2GB file limitation, a.k.a. spanned files).

http://www.reduser.net/forum/showthread.php?t=48911

[Diego Querzoli]

http://www.reduser.net/forum/showthread.php?t=48911

Very helpful... thanks a lot!!!!

[Erwin Vanderhoydonks]

Hi,

It's faster to edit with proxies, especially with 1K resolution.

You are telling us that this is a good way of working. Use the proxy files created by the camera.

Download the Clipfinder to load up the footage, set the resolution in the list as 1/4 size, then drag the clip you need on to FCP. That way you are editing from the RAW files "through" proxies.

But I read in other posts that this is a very 'buggy' way of working. But if this is a good workflow option, why do some other people recommand to first render to Proress before importing in FCP.

Then do the cut editing, after you are done, then send the timeline to Apple Color. Apple Color will automatically refer to the RAW portion of the footage, then you can grade with most of the R3D metadata, along with the primary and the secondary rooms of the Color.

And in Color you use the R3D files...

Why do other people create ProRess files if this is a very easy and simple way of working ?
Thanks for your feedback

[Gunleik Groven]

Why do other people create ProRess files if this is a very easy and simple way of working ?
Thanks for your feedback

Actually this is project-dependant.
(Disclaimer: haven't worked with the cam-proxies for a while...)

For shorter, fast-turnaround projects, the cam-proxies can be really fast to work with. You shouldn't be too hung up in how the image looks, though, you get a... proxy...

Simple conform (or no conform), as Kaku Ito describes, and shoot out to color.

Works well with smaller projects.
The downside is that you HAVE TO work on a fast computer with the RAW files online at all times. As for security on say a feature or a TV series, this is not a good plan.

Thus, transcoding to offline proxies (prores or whatever) that can be cut on anything and a conformed to RAW or DPX is quite common.

As Color soesn't support the Rocket yet, we still do our onlines on AJAlog 10-bit here (doing TV-series). (DPXs would have been better, but there are internal reasons for staying AJA-log). This may soon change with resolve or if Color starts to support the rocket and gets a smarter sway to ingest the raw-files, signalchain-wise.

And please:
Nope, RCX will not replace Color or a general color-correction tool anytime soon for this kind of work.

[Kaku Ito]

Thanks Gunleik for answering many of the points.

I provide QT offline footage to my clients since I have the RED ROCKET, it's a piece of cake. We use proxies for our own projects because we don't feel the needs to transcode and create more files when we have the ways to utilize the proxies. But the future is the native support like MC5 and Premiere Pro to edit and like Gunleik said, RR powered DaVinci...or Storm. Until then I will work with the least file size and least effort to edit while I provide the easiest way to edit for my clients.