Adding markers to RED footage in Prelude

Hey everyone, I was hoping to find a way to add markers to my RED footage without having to transcode it during ingestion. All my footage is kept on a separate drive from my computer. Two separate computers can pull from this drive so I'd love to avoid the transcode process to save me some time and allow me to edit everything RAW. Anyone have a work around to this process they know about?

Hi,
If you are using Prelude 2.1 or later it supports logging directly to RED media.
What version are you using and what does Prelude show you that is preventing you from adding markers?
Thanks,
Michael

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Cannot Ingest RED Footage in Prelude

I'm trying to ingest RED Epic footage in a variety of formats, but Prelude is unable to pull any of it in. The error message reported in the Events panel is "Import task - import file: "{path\filename}.R3D" failed. Reason: Import XMP failed!"
I'm running Win7 x64. Prelude is version CS6 1.0.1
The updated ImporterRED.prm is located in D:\Program Files\Adobe\Adobe Prelude CS6\Plug-ins\Common\
The updated ImporterREDServer.exe is located in D:\Program Files\Adobe\Adobe Prelude CS6\
I can pull the footage into Premiere Pro with no issue. Does anyone have a fix?
Thanks,
Stivan

it says in the manual that prelude cannot import red without transcoding...
since it cannot write to reds metadata it is a waste of time anyways

I downloaded CS6 Red Plug-In and added to Package Contents, replaced the current files with the new without backing up, now my RED footage thumbnails and color-correction don't WORK! How do I get my old importerRed file back!!?? HELP!

I downloaded CS6 Red Plug-In and added to Package Contents, replaced the current files with the new without backing up, now my RED footage thumbnails and color-correction don't WORK! How do I get my old importerRed file back!!?? HELP!

Try asking in the Premiere Pro forum seems to be an Adobe Lab for Premiere Pro

Since Prelude doesn't work with Red footage, how can I add logging info to a file in Premiere Pro

Since Prelude doesn't work with Red footage, how can I add logging info to a file in Premiere Pro CS6?

RED footage has a restriction on metadata. We are looking into what it would take to get full metadata support into our system, but you cannot tag red footage at this time.

Red Footage and Final Cut Server

Aloha gang-
I am still testing FCS in our studio and enjoy many of the features in this product. I love being able to search for footage and pull it into my FCP project with no waiting (using edit-in-place). But I am looking for some advice and knowledge regarding Red Footage.
My scenerio is this:
We render all our red footage to offline files that we will use in the post production process. I want to tag all those files with appropriate metadata so our edit team can search and retrieve files as they need it. But with red there are 7 files (in our workflow) that correspond to the same thing. Basically there is the original R3D file which can not be used in FCP, there are the 4 quicktime proxies that the camera generates and live in the same folder as the R3D, and these are the files I want to get back to after the production is through and archived. There is the offline quicktime we generate to edit with which we need to tag. There is a log and transfer quicktime we can log and transfer all this data to FCS (but it doubles the data size so I am not looking to use this one and edit performance is okay at best), and finally there is the folder that the 4 proxies and original red file live in.
All of these files should be search able by the same metadata. Imagine the shot is of a blue bird. When I type blue bird I would want all of these files to show up (obviously I could limit my search so I only get the version I need for what I am doing i.e. offline, proxie, etc. I have made metadata lookups for this so this is not the challenge.)
The challenge is I only want to log 1 of these files and have the metadata applied to all of them. They all have almost identical names. The offline, R3D, and folder file have the exact same name. The proxies are identical but with _F, _H, _M, and _P behind them. For the catalog process I only want to transcode proxies for the _M (The _F, _H take way too long and the proxies look the same as _M and the _P is too small
I could make them a bundle but that does not help too much as the offline lives in a different place as the footage.
Any ideas would be greatful. My easiest solution is to tag the files twice, once for the production and once for the archive, but this seems like a waste of time that I could have a computer do instead
P.S. anyone successful in getting the metadata out of the red file, I see the red metadata set, and have it in place, but can not get it to show anything no matter which file I upload.
Any ideas, or help would be great
mahalo
scott

Thank you for your replies. I guess my question is not really answered because of the conundrum associated with red footage
But my workflow to get through this will be as follows: (In case anyone is interested)
Set a scan to bring in the offline quicktimes as they are rendered and have someone tag them with meaningful tags to help us search during the production. I will send those to archive when we are done.
After the project is completed and the files are removed from Final Cut Server I will set a scan to import all the _M files (they transcode faster and quality is not an issue since it is making proxies) and tag them as best I can for the long haul (archive) I can either leave the media on the drive or back it up, depending on the immediate use of the files. This works very well if the media is still there as I can just drag the _M into Clipfinder and render the shot I need as I need it.
I am storing these clips in folders labeled CC_LTOXXX (where XXX is the number for the LTO tape which increases by one for each tape I use. When I import them into Final Cut Server from the LTO folder I have a direct line to which LTO tape the file lives on. It's not easy to get the files back (so with files used frequently I will also keep a copy on an external drive I can just plug in) from an LTO, but it is doable.
If anyone has an easy way to pull a list of files from an LTO tape that would be great, and even better if it could be a list Final Cut Server made, or if Final Cut Server could just pull the files. My LTO is a network drive so I would have to access it through an IP address, but if I could do that I would be golden.
Anyway I know this will all evolve and this is just where I am right now, any ideas would be appreciated.
Mahalo
scott

RED Footage has strange banding with H.264 export

Exporting RED footage to H.264 (just as review files) from Media Encoder CC 2014 and it has some strange horizontal banding going on. Never happened with CC. Anyone know what this is??

Would you be able to post an image of that issue here on the forum message? that help us better understand the issue you are referring to. Also, what Settings in H264 did you have? Maybe you can post image of your settings as well.
Thanks.

Need help with compositing DPX red footage and workflow

Hi Guys...sorry to repost this..I've tried in many other forums, but haven;'t gotten a straight answer yet, I'm hoping anyone on this page can give advice...
Recently, I was asked by a friend to help on a low budget project by doing some roto and paint work, and some simple composites in After Effects. The question I have is regarding the specific workflow when it comes to dealing with Red Footage in AE. Currently, the project, which is very small, is getting it’s fine cut done by the editor, and their post supervisor asked how I would like the plates to be delivered for comping…I requested 4k 10 bit DPX files set to Red Gamma/ Red Log Film color space, which I understand to be standard for ingesting.
The question I have is the best workflow setup for this in AE? Because AE has recently upgraded with CC 2014, there are several new plug ins that I am not familiar with regarding importing DPX or Open EXR files, and the precise color space to work in so I can have a “normalized” project to comp in…..basically Log to Lin, and then exporting Lin to Log.
This is what I have gathered, and again, I’m not sure if this is correct, so please let me know your thoughts on the best way to work with this:
Basically I was told to work in sRGB color space in AE in order to work with my VFX comps and elements in the “normalized” sRGB linear colorspace, so go “Log to Lin"
1. Import the red footage as 10 bit DPX sequence into AE (with a RedLog Film color gamma applied)…the project settings should be set at 32 bit depth and the working space set to sRGB
2. Right Click on the DPX footage and select “Interpret Footage” select “Main” and then go to the “Color Management” Tab
3. At the “Assign Profile” Box, select “Universal Camera Film Printing Density”. This should “normalize” the footage in the RGB colorspace of the project, and I should be able to see a Rec709 (sRGB) image instead of flat Log.
For the Rendered Output from AE for the colorist…..
Best to render out two different formats, one in Log space for the colorist, and one in a 1080 QT linear space for approvals from the Director
1. In the AE Render queue, set up two output modules…go to “Output Module Settings” and select “Color Management” tab, then select the “Output Profile”.
2. Set the profile to “Universal Camera Film Printing Density”, and the file format to DPX…or whichever the colorist requests as the file format (png, Tiff, etc)
3. The second module can be set to sRGB in QT for approvals
Does this make sense? Is there a better way? Am I on point? Thanks so much, I really want to have this nailed down before I continue.

Jason talks about merging clips right a the beginning of the video.
http://tv.adobe.com/watch/cs-55-production-premium-feature-tour-/adobe-creative-suite-55-p roduction-premium-feature-tour-overview/

Sequence settings for RED footage

Hi to all,
I'm editing with RED footage, using the low res redcode 512x288 clips.
I'm trying to set my sequence settings to be able to edit without having to render for preview.
But i can't seem to find the REDCODE compressor in my compressor list.
Any suggestion on how i can set this, without having to convert all my clips to prores.
thanks in advance.
tee/

Well you won't get the gray bar above those clips, and you'd find better performance with more machine...
What you're doing there is asking the computer to reference the original R3D files, and then down-convert them to a lower resolution in +real time+. Obviously this is very CPU intensive, and the faster machines do better with it.
Might be best with an iMac to use the log and transfer window and transcode it all to ProRes. I gotta say, it's not as fast and efficient as what you're doing there, but if you can't get smooth enough playback for the edit, it sure might serve you to spend the time in the transcoding.
Still, if that preference in the User Pref's Editing tab is turned on to "Ask" you definitely should be getting the prompt to change the sequence settings to match. Might trash your preferences and give that setting another look see...
Jerry

Red footage and CS5

Interested in a bit of dialogue about Red footage and CS5.
Just quoted a production shooting 35mm film combined with footage from the Red Camera.. (reasons various)
Am I setting my self up for a whole lot of whoop-*** problems with the red stuff?
Anyone with experience of Red and CS5 willing to relate.
Thanx
Craig

Thanx guys.
My tests to date with 4k footage (downloaded) has been successful
(it played fine in my project)
and now...
I am delving into this RED thing a bit more deeply ....
I assume that the new importer as linked to here:
http://blogs.adobe.com/toddkopriva/2010/05/cs5-mysteriumx-red-update.html
is required (a must install) to enhance the CS5 "capabilty" in RED footage management?
Will shoot Red Camera tests this coming week (with audio).
Must tell you... my faithful and regular Camera Assistant is appalled I am considering the RED for one of our shoots. He has had many bad experiences with the hardware!
I have my own trepidations as a D.P ( as well as being the guy who will edit the footage).
Issue is I have clients for whom this is a bit of a "name drop" request for their productions.

Project pane greys out after adding either HD movie footage or a photo'

Project pane greys out after adding either HD movie footage or a photo' into iMovie '08. Since using a HD camcorder, quite often, after adding either HD movie footage or a photo', the project pane greys out. I have to exit the project and re-enter to continue viewing the project; this is tiresome. Any thoughts or is this yet another iMovie '08 bug?

blackcomb greens wrote:
PS ~ what is the plist?
every app as a preference list, which can get corrupted.
quit iM
look in user/Library/Preferences for a file called com.apple.iMovie(x).plist (x stands for any number) ....
trash that.
restart iMovie..
it doesn't hurt your projects nor does it touch any files.. it just 'resets' an app.. => slapp on backhead.. as I like to call it..
yes, hardware is nice, as long as you don't dare to handle AVCHD .. that is on Intel Mac only..
all Folders (Project/Events) is on local harddrive?
no plug-ins installed (DivX etc)?

After Effects CC Render Errors with RED footage and ProRes 4444 proxies

Working on an 8 Core, 2008 Mac Pro with 16GB of RAM running Mountain Lion.
I just upgraded to After Effects CC and I'm having a whole bunch of errors ...
-- the 'MooV' file is damaged or unsupported
-- error getting package info for file "..." ( 3 :: 164 )
-- Error (4) reading frame from file "..." ( 86 :: 2 )
I'm trying to make ProRes 4444 proxies from RED files (sometimes as big as 4K), which will eventually end up in a 1920x1080 project. I'll make a 4444 proxy, work on it all day with no problems, then when I try to render (or save a RAM preview) any one of the previous errors will show up.
My projects seemed to work just fine fine in AE CS6, and I've worked with RED footage in AE before with little issue. I've completly restarted my system, re-installed everything, worked off an external drive, worked on my internal (software) RAID, rendered to local and external hard drives, adjusted my multiprocesser render settings (on and off), cleared the cache ... nothing is fixing it.
Does anybody else have any ideas? Or insight. Or anything?!
Thanks for your time,
Eliot

I'm working on a MacbookPro, Early 2013, OS X 10.8.4, and I'm having the same exact error:
However instead of using RED footage, I'm using a 3rd party plugin called Element 3D and Optical Flares from VideoCopilet.net.
I'm not sure if the bug is related, I'm just wondering if anyone else has any idea on how to fix this problem. I have a fresh install of CC so I can't downgrade to CS6.
Another error popped up during multiple trys in export:
In case the old file was actually corrupted, I checked all my backups that worked perfectly fine with CS6 in the past, and I get the same error when I copy them over to my hard drive on my mac.
My current setup is:
Processor: 2.8 GHz Intel Core i7
Memory: 16GB
Graphics: NVIDIA GeForce GT 650M 1024 MB
I really don't want to recreate this entire file from scratch. That would be a lot of hours wasted... any suggestions would be greatly appreciated.

RED footage record frame rate

I am working with some RED footage in PP CS5.5 and I would like to check with my media what was the recording frame rate at the time of the shoot. I looked into the metadata and cannot find any field with that information. For example I have some slow motion footage shot at different frame rates and I would like to identify precisely what it is.
If I go in REDCINE-X PRO there is a field called "Record Frame Rate" that gives me exactly that information. What is the equivalent in Premiere Pro and where can I find it?
Thank you,
David

No... I checked the Clip Properties window as well with no luck...
Here is the information I get in REDCINE-X PRO: you can see that particular clip was shot at 300 fps
Here is the information I get in PP CS5.5, inside the project window (I looked also into the metada information with no luck so far...):
Again when I play this clip in PP @ 23.976, it plays in slowmo as expected because it was shot at 300 fps. What I would like to get is that information of Recorded Frame Rate in PP.
Thanks,
David

Premiere CS6 - keyframed scaling is not working with RED footage when Time Remapping is used

Hello,
My system is: Win7, Premiere CS6 (6.0.5), 12GB RAM, etc...
My project settings: I'm using 1080p RED timeline.
Steps:
Using 4K RED footage with "Scale to frame size" disabled after placing the clip on timeline.
Under effects time remapping is set to 50%.
Motion->Scale is keyframed from 50% to 100% to achieve zoom in effect while preserving image quality.
Clip stays at 50% Scale ignoring the keyframes.
Problem is present during preview and in the exported file. I tried with CUDA enabled and disabled and problem persists.
If I turn off Time Remapping, then the clip responds to scaling keyframes.
Is there any workouround or can this bug be fixed?
Thanks!

Thanks.
This seems to work but I had to apply TR to the nested sequence and scaling to the original clip.
Otherwise scaling operations are messed up.
This situation reminds me of after effects and effects processing order.

Transcoding Red footage to proxy in FCPX

I'm transcoding a ton of red footage into proxy on an external hard drive. I left it on overnight and now maybe about 50 percent complete. Question: If I cancel the transcode process and disconnect the external hard drive, will FCPX remember what clips are left to be transcoded when I re-connect the external hard drive and begin the transcode to proxy again? Or is it going to start all over?

Not sure it will "Remember" to transcode those NOT being transcoded. Afterall, that could be BAD... Becuase YOU chose to cancel. This is just my logic talking ;-) -- But imagine you would hit "Cancel" transcode and FCPx would keep commencing the transcoding ;-) I would not like that...
However, what I do know is that you can manually transcode the "Missing" proxies..
Here is how I do it...
Say I have transcoded half my arsenal of originals and I for some reason cancel.
1) In preferences switch to proxy
FCPx will now display about half the files (ones that did not receive transcode) in red icons as missing proxy
2) Select all the missing proxies and give them a temp. keyword of i.e. "Missing" (Reason for this is that when you switch back to High Quality Media - sometimes FPCx will loose the event library selection - and then it is diff. to see which files have missing proxies and which not)
3) Switch to High Quality Media in preferences
4) Click the Kerword "Missing" you just created
5) Hit command + a and then transcode media
Above workflow is for a large event library... Say past 400 clips... Depending on "today's Mood-swing) of FCPx selecting 400 clips could take 10 minutes.
If your lib. is smaller you can just (when you re-connect) the drive and event lib.... select all files and then hit transcode media... FCPx will only transcode those clips that has not proxy...

Editing Red Footage in premiere help

Hi,
Finally, I decided to edit red footage in Premiere cs6 this is my first edit can any one plz help how to Edit red footage,i mean red is a raw footage,am i first grade(basic color correction) the footages or edit the footage (my confusion) and then finally grade it,i am choosing speedgrade to grade- plz tell me the whole pipeline thanks.

Information FAQ http://forums.adobe.com/message/4200840 questions to answer
Red Camera http://forums.adobe.com/thread/876142
-and http://forums.adobe.com/thread/901142
-laptop http://forums.adobe.com/thread/900733
-Rocket Card http://forums.adobe.com/thread/906227

Adding markers to RED footage in Prelude

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