Canon C100 + HyperDeck Shuttle 2 + Adobe Workflow Question

Hello Everybody,
I recently purchased a Hyperdeck Shuttle 2 to pair with my Canon C100. The C100 outputs uncompressed footage thru HDMI. I shot a film recently and I recorded uncompressed 10 bit 4:2:2 Quicktime files thru the shuttle. I need some help with the best way to edit/grade this footage. I searched all over the internet and I found references only to the DNxHD MXF file format or ProRes file format that the shuttle can do. Nobody seems to be using/discussing the uncompressed Quicktime 10 bit 4:2:2 workflow.
Restrictions: Workflow has to be Adobe + Windows
The C100 sends the 24p signal in a 60i wrapper and as a result the footage shows up as 29.97 fps.
1. Removing Pull Down in Adobe After Effects?
What is the best way to do this? I can go to Adobe AE and Interpret footage. This is converting video from 29.97 to 23.976. Once this step is done:
A. Do I need to render it and use the rendered file for further steps (Edit/Grade)? The original file out of the shuttle2 shows up as Quicktime 10 Bit Uncompressed YUV 4:2:2, Trillions of Colors. Do I need to render back to the same format or should I render to Uncompressed Avi (Internet is full of issues with QT on Windows). When I try AVI, it offers only Millions of Colors and not Trillions of colors. Will there be a loss in Quality? If I render to uncompressed AVI the file size is almost same as the original. If I render back to the original format (Quicktime 10 Bit Uncompressed YUV 4:2:2, Trillions of Colors) the file size decreases by 10% - 15% making me believe that there is some sort of compression happening.
B. Do I just skip rendering and somehow send the footage over to Premiere for Editing, Speedgrade for grading and then output for delivery? This would mean sticking to the same file format that the shuttle captured. I am not even sure if this can be done.
2. Removing Pull Down in Adobe PPro?
Is there any way I can remove pulldown in Ppro without having to go to AE? I see the Interpret footage option in Ppro. Even after I do it, the file properties still show as 29.97 fps.
Also, what would be the correct preset option in Ppro? I see a Blackmagic Capture
Any help will be greatly appreciated. The reason why I want to stick to the least lossy format is because I have a few shots that are underexposed and a few that have an incorrect white balance

Hi Jim... Yes :-). Foolish. Lesson Learnt.
But if you look at the questions, I guess they are general to Camera + External Recording setup rather than a specific brand?

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Hyperdeck shuttle superwhite issues

I'm shooting f3 s-log material to a hyperdeck shuttle 2. I am finding that pro res and dnxhd clips are coming in to premiere and speedgrade with the superwhites clamped at 100ire. I have confirmed in resolve, FCP and apple color that the master clips are not clamped but in premiere I cannot get the clips to show full range.
I have tested DnxHD and prores formats from the hyperdeck, same results. I've tried both cs6 and CC, same result.
to reiterate, resolve shows full range, adobe apps are clamping it.
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Hi Jim... Yes :-). Foolish. Lesson Learnt.
But if you look at the questions, I guess they are general to Camera + External Recording setup rather than a specific brand?

RED Workflow questions with Mac Pro (including third party plugins)

Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
Here is what I’m working with:
2014 Mac Pro
-2.7 GHz 12-core intel xeon E5
-64GB Ram
-Dual AMD FirePro D700 6GB
-1TB Flash Storage
Editing all footage off 96TB Raid 6 mini-sas server (getting about 1100mbs read/write rate according to AJA system test) which is faster than any Thunderbolt/TB2 drive array I have.
Media I work with is footage from the RED Epic (normally 5K) as well as DSLR footage from the 5d.
Software:
-PrPro CC 2014 (8.1)
-Magic Bullet Looks 2.5.2
My question(s) pertains to RED post-pro workflow in combination with third party plug-ins and the different approaches to make it more efficient.
Right now, majority of the clients need a 1080p HD master, and they are generally anywhere from 2-8 minutes (usually). So my sequence settings are as follows:
Video:
Editing Mode: RED Cinema
Size: 1920 x 1080
Audio: 48Hz
Video Previews
Preview File Format: I-Frame Only MPEG
Codec: MPEG I-Frame
1920x1080
Maximum Bit Depth unchecked
Maximum Render Quality unchecked
Composite in Linear Color checked
Export Settings
H.264
1920x1080
VBR 1 pass
Target Bitrate 12mbs
Max bitrate 12mbs
Maximum render quality/depth/previews unchecked
Issues I have:
-Playback is fine at 1/2 or even full, but once effects (especially magic bullet looks) start to go on the clips, it’s very choppy and has difficult playback at 1/4
-Export times (especially with magic bullet looks) will take the better part of 1-4 hours for a video that is 3-6 minutes long. This doesn’t seem like it should be the case for a maxed out MacPro
So my questions are:
Do these seem like the right sequence/export settings for mastering at 1080p? If not, what would you suggest?
Would using offline editing help at all?
Do you place your effects on adjustment layers?
Is there anyway to improve export settings when using an array of filters?
Have you stopped using third party plugins for their inefficiency in unreliability and switched to more integrated applications like SpeedGrade?
Is there any other tweaks that you would suggest for RED workflow with PrPro?
Should I consider switching to FCPX or (besides the iMovie-likeness) does it carry problems of its own?

Hi This Is Ironclad,
thisisironclad wrote:
Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
The biggest issue is that most people have is that updating OS X causes certain folders to be set to Read Only. See this blog post: Premiere Pro CC, CC 2014, or 2014.1 freezing on startup or crashing while working (Mac OS X 10.9, and later).
thisisironclad wrote:
Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
Here is what I’m working with:
2014 Mac Pro
-2.7 GHz 12-core intel xeon E5
-64GB Ram
-Dual AMD FirePro D700 6GB
-1TB Flash Storage
It's a nice base system. How about an additional speedy disk for media cache files. You also did not mention which version of OS X you are running.
thisisironclad wrote:
Software:
-Magic Bullet Looks 2.5.2
The Red Giant website does not indicate that this software is yet updated to work with Premiere Pro CC 2014.1 (8.1). Proceed with caution here.
thisisironclad wrote:
Issues I have:
-Playback is fine at 1/2 or even full, but once effects (especially magic bullet looks) start to go on the clips, it’s very choppy and has difficult playback at 1/4
I would not use this plug-in until you get the OK from the manufacturer.
thisisironclad wrote:
-Export times (especially with magic bullet looks) will take the better part of 1-4 hours for a video that is 3-6 minutes long. This doesn’t seem like it should be the case for a maxed out MacPro
Again, I suspect your plug-in.
Keep in mind that exports are largely CPU based but you can make sure that GPU acceleration is enabled for AME at the bottom of the Queue panel.
thisisironclad wrote:
So my questions are:
Do these seem like the right sequence/export settings for mastering at 1080p? If not, what would you suggest?
It's OK.
thisisironclad wrote:
Would using offline editing help at all?
No need when you should be able to edit natively. Relinking might also be an issue.
thisisironclad wrote:
Do you place your effects on adjustment layers?
That's one way you can do it with the benefit of being more organized.
thisisironclad wrote:
Have you stopped using third party plugins for their inefficiency in unreliability and switched to more integrated applications like SpeedGrade?
I do. Of course, that's a preference.
thisisironclad wrote:
Is there any other tweaks that you would suggest for RED workflow with PrPro?
Try the following:
Sign out from Creative Cloud, restart Premiere Pro, then sign in
Update any GPU drivers
Trash preferences
Ensure Adobe preference files are set to read/write(Hopefully you checked this out already)
Delete media cache
Remove plug-ins
If you have AMD GPUs, make sure CUDA is not installed
Repair permissions
Disconnect any third party hardware
If you have a CUDA GPU, ensure that the Mercury Playback Engine is set to CUDA, not OpenCLYou have AMD GPUs.
Disable App Nap
Reboot
thisisironclad wrote:
Should I consider switching to FCPX or (besides the iMovie-likeness) does it carry problems of its own?
I really shouldn't answer that question.
Hope this helps.
Thanks,
Kevin

I recently purchased a Canon 7D. I own Adobe Photoshop/Bridge CS5. I cannot open my raw images in Bridge. I have tried to download the plug in but does not seem to work. Please Help, I need to be able to open my raw images in Bridge ASAP. I do not want to

I recently purchased a Canon 7D. I own Adobe Photoshop/Bridge CS5. I cannot open my raw images in Bridge. I have tried to download the plug in but does not seem to work. Please Help, I need to be able to open my raw images in Bridge ASAP. I do not want to upgrade to CS6 at this time.

If you had given us sensible information, I could look it up for you if your efforts fail.
Right now, I don't even know if you are on a Mac or on a Windows box.
BOILERPLATE TEXT:
If you give complete and detailed information about your setup and the issue at hand, such as your platform (Mac or Win), exact versions of your OS, of Photoshop and of Bridge, machine specs, what troubleshooting steps you have taken so far, what error message(s) you receive, if having issues opening raw files also the exact camera make and model that generated them, etc., someone may be able to help you.
Please read this FAQ for advice on how to ask your questions correctly for quicker and better answers:
http://forums.adobe.com/thread/419981?tstart=0
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Ok I too, like many others here, am new to the Mac (thanks to Apple's I'm a Mac, I'm a PC ads that my wife couldn't get enough of). I have done some searching around and I see that there are quite a few iMovie workflow questions out there. I have not quite found what I am looking for however, so I thought I would make my first post tonight. So here it goes...
I have 3 different ways I capture video:
1. Canon Vixia HF10 (HD)
2. Canon Powershot (SD)
3. Blackberry Storm (SD...I know it isn't a good phone)
I record everything to SD cards. I am wanting to know the best way to store my raw video for editing at any time. Do I copy the AVCHD file structure (for the Vixia) and .avi files (for the other non HD) to my hdd, or do I just import into iMovie '09 and let it reside there, or both? I noticed that iMovie had an archival option (which appears to just copy the AVCHD structure to my hdd), which is why I ask. I want to always keep my raw video in case I decide to go back later and create a new video.
After I have the raw video archived, I would like to know the best way to use iMovie. Depending on where I end up storing the raw video, should I keep the imported video in iMovie once I am finished with a project, and then reimport it at a later date if need be? Or, do I leave it in iMovie as events? I guess this all rely depends on the first question...where do I store the raw video for archival purposes...
Finally, when exporting my iMovie project, should I store that in more of a, pardon the Windows reference, "My Videos" folder with a original size, web optimized size, and ipod optimized size? Thus, keeping the actual exported version of the project separate from the raw video?
I hope I have asked the right questions here. I appreciate any and all help I can get!
Ron

Welcome Ron to the  iMovie boards..
very interesting : 'switchers' care sooo much for 'storage strategies' ..
the by Apple intended workflow/concept for iApps is:
any 'photocam' related material (still or movin') comes-in via iPhoto, and is stored in an iP Library (=you can tell iP to create 2/many Libs, if you prefer to organize manually....)
any 'camcorder' related material HAS to be imported by iM - why? because, iM has some internal routines to make such material editable (codecs, thumnails, stuff....). the same material as 'file by Finder' does not import.. in most cases!
storage..
iP stores in its Library (local/internal HDD and/or ext. HDD)
iM stores in Events (local/internal HDD and/or ext. HDD)
to make Projects/Albums accessible to any iApp, you should keep your fingers off that structure.
Erasing Events 'kills' projects.
allthough, once 'shared to media browser' there's a 'copy' of your project WITHIN the project file. (= the socalled Media Browser is no single Folder somewhere hidden in the system)
there's this Spacesaver feature to erase any Event content which is not in use in any project to keep Events lean.
use the Archive feature from within iM to keep things easy and convenient.. if you miss a single file of the SDcard file-structure, the whole card's content is kaputt ..
summary:
• use iApps as intended.
• use iP for cameras, it stores 'raws' (the avi too)
• use iM for camcorders, use Archive to store raws..
• purchase a dozend of HDDs to store your material..

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http://forums.adobe.com/message/3888889
AE and PPro CS5.5 have two different versions/file dates of the Quicktime importer file (ImporterQT.prm), so the issue may have just been missed with AE.

I also have a BMD Intensity Pro, so I already have all their codecs installed. The only BMD codec that the Hyperdeck Shuttle 2 software installs is a QT uncompressed codec, since the recorder is capable of producing uncompressed files also.
Here is a small Hyperdeck Shuttle DNxHD MOV file that someone posted and you can download it, if you want to check it out with AE. You will need to install the Avid codec package that is refrenced in my previous post. If nothing else, having the codec installed gives you a free intermediate codec (it will encode also) that is only lightly compressed (220 Mb/s), 4:2:2 and 10 bit.
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Frank Scallo Jr wrote:
The thing is guys - Once a file is sized down it WILL lose sharpening - what we are doing is sharpening the full size RAW file or rather what the full size output would be like. Once we export a version sized down it will lose some of the 'bite'. LR has sharpening options on 'output' which is not only smart but a necessity. Adobe realizes that output for screen needs another sharpen. Apple either doesn't know or didn't bother. It makes ANY output for screen less than best.
Bear in mind that there seem to be two separate issues going on here - sharpening adjustments not being applied on export, and resizing.
As far as resizing is concerned, Aperture appears to use something roughly equivalent to Photoshop's Bicubic Sharper setting. Because of this I've never had much problem with Aperture's exports when used for the web, but obviously everyone's taste for sharpening differs which is why an option for output sharpening would be good.
Sharpening adjustments not being applied on export is a separate issue and should be reported via the feedback form ASAP by everyone who is experiencing the bug.
Now printing is another animal - I wouldn't print directly from RAW in aperture either if I'm printing small. Again, LR beats Aperture here as well since they include output sharpening for print.
Aperture has had output sharpening for printing since 2.0 came out (unless it in was 1.5). In A3 you need to turn on 'More Options' and scroll down, I can't remember where it is in A2. I don't know how effective it is as I print via a lab, but it's there and it's been there for a long time...
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I can import, play and edit the files just fine, but there's a major problem that makes the files useless.
Static scenes are fine except they are flat and require color correction to make them aesthetically acceptable.
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First of all, it doesn't matter whether I shoot in FSH, HBR, 24p or don't hit the camera record button at all and just record from the cleaned display... the same problem occurs, so it isn't a camera setting (I've spent 2 days experimenting with different cam settings as well).
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I said that extra frames were being added, well I read that recording from the GH2's HDMI port added and deleted frames randomly, and that clouded my judgment and made me lean in that direction, but upon closer inspection (I was going to experiment with manually removing the extra frames) I found that there are no extra frames per-say.
The ghosting I described is at the heart of the problem.
When panning each frame appears to be a combination of 2 frames at different times. So depending on the speed of the pan (and the shutter speed - the higher the SS the closer together is the dual images) you get an interlaced image (half of the lines) at one point in time, and another (the other half of the lines) at a later point in time.
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Hello Guys,
AS far as the signal I don't know what to believe.
Panasonic says that the new HBR mode is 1080/30p, but various video reporting tools reads the files as 1080/60i when recrding to the internal card.
I was told that no matter what setting you had for record mode, the HDMI spits out 1080/60i, yet others have said that you can get it back to 24p by using a pull down... but how can you get it back if the HDMI port is just putting out a signal from the sensor at 1080i without regard of the recording mode??
Anyway I ran a test just before I had to leave for an appointment, so I didn't have time to beat it up yet, but the results look promising!
Here's what I did: I recorded to BMD Hyperdeck using it's built in DNXHD codec (doesn't matter what record mode) and in fact I never hit the camera's record button, I just took the raw signal comming out of the HDMI port.
Trust me, for this test I tried every setting and combination that I could think of and it didn't matter for this test what combination I used, the results were the same.
Then I conformed the video clip in my bin to Upper First. That seemed to fix the problem as long as I was in PP CS6, however upon export the problem still occured.
Then upon export I chose progressive in media encoder.
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I'll do further testing and report back.
If this works it will illiminate the need to run the files through yet another program.
AM

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Canon C100 + HyperDeck Shuttle 2 + Adobe Workflow Question

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