Duplicate / multiple RED R3D clips

Hi folks,
I'm using Premiere Pro CC 7.2.2 on a Dell dual 8 core CPU PC and when importing RED Epic material, we get duplicate and sometimes many multiples of clips in their own folders within the import bin.
This has always been a problem with PP CC but seems to have worsened since we went to 7.2.2.
I'm sure other must have seen this, is anyone aware of a work around?
Many thanks
Ken

For sure. attached screenshot. I locked the 3rd track so you can see the difference.
Yup, I've tried relinking footage by making it offline & then relinking it. Also tried replacing it just for fun. Tried replacing it with a different file type, too, just to see. In all cases, the timeline clips remain striped out and unviewable, although the clip in the bin is totally in tact. And I can still 'reveal in bin' from the timeline, so those are still connected. It's really odd.

Similar Messages

RMD metadata for R3D clip not always loaded

I'm getting a bug where 'sometimes' the RMD metadata for a clip is not automatically loaded by Premiere for R3D clips (from Red cameras). I have to right click on the clip, select 'source settings', and then click on 'Reload from RMD'.
These R3D files were trimmed in RedCine X. Could that have anything to do with this inconsistency?

Check this thread in REDUSER Forum.

RED .R3D Timecode

Hi,
If I open a RED .R3D in the source monitor, its timecode entry is two frames late. For example, if the absolute timecode of the clip is 19:43:15:16, the source monitor will display 19:43:15:18. It's messing up my EDLs
Anyone know why?
Thanks.

If a file can be read and played in Quicktime, then Final Cut Server will be able to create proxies for it (in most cases).
Quicktime can be extended with 3rd party components to play additional formats. So in the case of r3d you'd need the redcode codec. And for MXF you would need something like MXF4Mac.
Pro Res edit proxies will be created when you check in a FCP project with the original material.

How do I join multiple (short) audio clips into one single long audio clip in Premiere Pro CS5?

Hello,
The question is in the title but I'm wondering how I can join multiple (short) audio clips into one single long audio clip in PP CS5.5. I put all my short clips right next to each other and selected all of them to see what options are available by right clicking and using the toolbar options at the top. The closest that I got was to nest the sequence, but that's not what I really want.
I'd like to merge all the short clips into one single (long) audio file to use under the video.
Thoughts are welcome and greatly appreciated.
Thanks,
-Melvin

O.K. This is kind of fundamental and you will need to learn up on this fully ...but for now...
Make sure you have the WAB ( work area bar )covering the length of the audio clips. ( You do not need to select them)
Go to the File Menu> Export Media
You will be given all the Export Options. Choose Wave File
Select option for Export Work Area.
Choose where to export the file to ( HD location)
follow your nose from there....
http://tv.adobe.com/watch/learn-premiere-pro-cs5/exporting-with-adobe-media-encoder/
BTW - Why are you taking the audio to Audition anyway? What are you going to do to it.

Workaround for slow performance and poor resolution with RED R3D files in After Effects CC 2014 (13.0)

http://blogs.adobe.com/aftereffects/2014/06/red-r3d-problems-after-effects-cc-2014-13-0.ht ml
The After Effects team are investigating a bug in After Effects CC 2104 (13.0) where RED (.R3D) files are very slow and the image resolution is poor, about 1/8 sampling.
The following workaround has been reported to solve the problems in some cases:
Save the project.
Choose Edit > Purge > All Memory & Disk Cache.
Please post in this thread about whether or not this workaround helped you.

Intentionally cross-linking threads: this issue was first reported in this thread, which has an ongoing discussion:
AE 2014CC RED R3D files support broken - footages looks bad, everything slow.
The thread you are in now is the comment thread for the blog post. Please post in whichever thread makes more sense for you. I am monitoring both.

PLEASE make PS CS6 open RED R3D movie files through Camera Raw 7 as 16 bit/channel files

Hi All,
Why does CS6 Photoshop only open Red R3D movies files as 8 bits per channel ???
This is VERY disappointing , R3D movies should be opened through Camera Raw 7 as 16 bits per channel
Hey Adobe please, Please, PLEASE make this very desirable change
Many thanks
Steve

Hi Chris,
Thanks for the prompt reply. I understand what you are suggesting however in CS6 PS when I open a Red R3D file (on my windows machine)
photoshop opens the file as 8 bit/ch WITHOUT going through ACR, not offering the option of opening it as a 16 bit file in ACR.
I presume PS "thinks" the R3D file is just 8 bit and doesn't "know" to start up Camera Raw 7 to allow opening it as a 16 bit file
No easy fix I'm guessin' ?
Many thanks
All the best
Steve

Since updated to CC 2014.1 - 6k Red .R3D files appear black when paused

I have a project that was started in the previous version of CC and now we've updated to CC 2014.1 (latest version). I noticed that since the update, when there is a Red .R3D file in the source monitor, it will go black after a few seconds (when the full resolution image would have appeared). I'm viewing the quality in 1/16th. When I scrub or play I can see the footage fine. It is only when I pause that the window soon turns black. If the playhead is over a red .r3d file in the sequence, the same thing will happen. Also, I can't play full resolution either - it will remain totally black.
When I turn off Mercury Playback Engine GPU Acceleration and choose Software Only in the project settings, this problem goes away. However I don't prefer to work that way because other things seem significantly slower.
The video card in this machine is the ATI Radeon HD 5770 - EFI Driver Version: 01.00.436
Any ideas? This is on a Mac Pro (Mid 2010) with latest version of Mavericks.

Hi Atkinsgj,
Atkinsgj wrote:
These forums are listed as an official support channel, but they're staffed primarily by volunteers...
Yes, that's the reality. I do try and get as many employees as possible to participate, though.
Atkinsgj wrote:
Can I request better support on the feature request forum?
The feature request forum? Do you mean the Premiere Pro forum? Feel free: http://adobe.ly/feature_request
Atkinsgj wrote:
As my inbox continues to receive notices of other people having issues with this ancient file-format, my concern grows because this kind of issue isn't a new trend.
Your In box grows from other people's issues? Sorry, I'm not understanding. Are you in support or education as well?
"This kind of issue…" refers to what? File based camera formats like AVCHD, etc.? As Neil says, there are lots of things that can go wrong with these kinds of formats. Chief among them is not ingesting them correctly, via the Media Browser not File > Import.
Atkinsgj wrote:
...but that's really disappointing to hear. Adobe is a 32 billion dollar company - who made over 3 billion in gross profit last year, more than the GDP of many small nations...and there is limited support for one of your flagship products...a product that was recently used to make a blockbuster hit (Gone Girl).
I don't believe I know of any one company creating complex software that doesn't need a larger support staff. We do the best we can with what we are given. Of course, I have no control over how many support agents we have on the phones or on chat. I'm lucky now that I have a couple of agents dedicated to the forums, so you should see this situation improving.
Atkinsgj wrote:
If there's a better way to seek a resolution please let us know, we don't want to stretch thin valuable resources or waste time.
Try this: Contact Customer Care
Thanks,
Kevin

Unlinking multiple Video/audio clips

Coming from FCP I'm used to doing certain things as part of the workflow.   One of these is being able to link / unlink multiple video/audio clips at the same time to that I can selectively delete or disable the audio if I'm running a second audio recorder or perhaps mixing a backing track.
In PPro it seems like as soon as I select more than one clip the 'Unlink' option is grayed.    How can I select (say) 10 clips, unlink the audio from the video so that I can delete or disable it.   The reason for disable is that I may want the ambient sounds later on in the mix, but if I disable this audio without unlinking I also disable the video.
I don't want to keep moving stuff on to more and more audio tracks and then have to mute the track, that's time consuming and a pain.   All I want to do it unlink multiple clips.
This can't be that hard can it ?

You don't need to Unlink in order to Delete. Just hold down the Alt key while selecting the audio portion of the clips.
You can 'disable' the audio by turning off the entire track, which is very easy to undo if you ever want the audio back.
It's a slight shift in work flow, but the end result is the same.

Multiple Sets of Clips Not Needed

When I import video from a camera, it creates multiple sets of clips. I am trying to edit the video to a supplied exact times and because there are multiple sets of clips, its not easily able to figure out where an exact time of the entire video is.
My question would be, is there an easy way, within, iMovie to combine all the clips as one, or import the video so it doesn't create multiple clips? Or even say that I'd like to select say: 0:40 to 2:32 of the entire import as my Favorite.
Thanks,
Peter

OK. I took out the extra comma. Put a space in after *survey*
and put "form" in front of the variables in order to scope them. I
got it to work just then and decided to add the next radio button
and once again, the error message keeps coming up.
Here's what it looks like now.
ACTION
code***********************************************************
<html>
<head>
<title>test</title>
</head>
<body>
<CFIF IsDefined("FORM.btnSubmit")>
<CFQUERY NAME="Add" datasource="newMID">
INSERT INTO survey (
poc,
polite,
know,
time
VALUES (
'#form.poc#',
'#form.polite#',
'#form.know#',
'#form.time#'
</CFQUERY>
</CFIF>
<cfoutput>
Thank you. Your IT survey has been forwarded to our NHCPR IT
mailbox.
</cfoutput>
<cfmail to="[email protected]"
FROM="[email protected]"
SUBJECT="IT Survey Form">
Polite: #polite#
Know: #know#
POC (opt.): #poc#
Timely: #time#
</cfmail>
</body>
</html>
The ERROR msg
Error Executing Database Query.
[Macromedia][SequeLink JDBC Driver][ODBC
Socket][Microsoft][ODBC Microsoft Access Driver] Syntax error in
INSERT INTO statement.
The error occurred in
C:\Inetpub\wwwroot\PaxNew\chiefOscar\testSub.cfm: line 20
18 : '#form.polite#',
19 : '#form.know#',
20 : '#form.time#'
21 : )
22 :
SQL INSERT INTO survey ( poc, polite, know, time ) VALUES (
'kennedi', '3', '5', '3' )
DATASOURCE newMID
VENDORERRORCODE -3502
SQLSTATE 42000
Resources:
Check the ColdFusion documentation to verify that you are
using the correct syntax.
Search the Knowledge Base to find a solution to your problem.
Browser Mozilla/4.0 (compatible; MSIE 6.0; Windows NT 5.1;
SV1; InfoPath.1; .NET CLR 1.1.4322; .NET CLR 2.0.50727)
Remote Address 10.249.6.81
Referrer
http://205.115.107.22/chiefoscar/tsurvey.cfm
Date/Time 29-Jan-08 02:05 PM
Stack Trace (click to expand)

DPX output from Red R3Ds - Becomes Very Bright

When I render DPX from Red R3Ds the output appears extremely or harshly bright - as if the gamma suddenly ramps hugely up. How can I correct this?

Just tried this, in fact its hooked up to my other monitor right now and i do still get the red tinge. The picture is perfect apart from this though. Its nice and sharp and clear.
The colour does indeed come on just fine to begin with but once the monitor has done its auto adjust it drops back to the red. I've played with the display settings, different resolutions etc for both displays and still the same.
The thing is, the mac does seem to be sending the correct signal as the monitor is initially correct. Ill try this with a CRT monitor once my battery is charged and if i can find another VGA cable in ill give that a go too.

How can i delete the duplicate pictures and movie clips on my macbook pro

how can i delete all the duplicate pictures and movie clips on my macbook pro. it is telling me i have no memory

By 'no memory' may I assume you are out of space on your hard drive?
Obviously you can delete them one by one, but this is tedious and will take a long time and you wish to do this quickly and efficiently.
This is my suggestion and it may not be worth a lot:
If all of your duplicates have a unique characteristic common to them that the originals do not, this MIGHT work. For example if you make a duplicate of an image, it will have the same title as the original, but will insert the word 'copy' in its' title. (It should do some thing similar with movie clips).
Go to Spotlight in System Preferences. Click on Privacy (near the top of the pane) and then the + sign (near the lower left hand corner). This will result in a drop down menu. Select all the places you do not want Spotlight to search. You should leave only Music and Movies unless you have pictures/movie clips in other places.
Enter into spotlight the unique characteristic (ie; copy) and it should (I hope) list all your duplicates. Perform a Select All, and put them in Trash.
Otherwise do them one by one or write an Apple Script Program.
If my convoluted idea does not work, perhaps you will be lucky and a more savvy person with a real solution will come forth!
Caio.

New to Premiere, from Final Cut. Help editing native RED r3d

I am one of the many new converts to Premiere Pro CS5.5 from Final Cut after many years using the Apple software. I want to dive right in and start editing with Premiere, but I've run into an immediate snag.
First, I have heard endless discussion about Premiere Pro's abillity to edit raw RED footage natively. Just drag in the r3d files and go. Yet, I haven't even been able to get Premiere to get me this far in my editing workflow. I have worked extensively with RED footage, and in the past I was transcoding in Final Cut to a Pro Res (Proxy) and conforming/onlining at the end using log and transfer or RED alert. Naturally, I was excited to be able to drop in native RED files and never have to online at the end. Here's where my problem comes in: I drag in the r3d files from a recent shoot. 4k 23.967 shot on RED. I double click the clip in my project to open it in the source monitor and all I get is black. I can't scrub, I can't playback video or audio to make my cuts; all I get is timecode. HOWEVER, if I drag the r3d file straight to the timeline, I get picture/sound and everything. Of course, this is no way to edit and I can't just be dropping full clips into the sequence and trying to trim from there. Like any editor, I want to be able to double click my clip, scrub through it in the source monitor, and find the particular take I want to use. THEN, I add it to my timeline.
WHY am I not able to see/edit the raw r3d files in my source monitor? Has anyone experienced this problem? Frustrated and unable to start using this highly touted Premiere (which I wholeheartedly want to believe in). Please instruct me so I can get up and running with my RED footage. In the meantime, it's back to Final Cut 7...
I should mention that I am using a Quad-Core Intel Xeon 2.4 GHz Mac Pro with 15GM Ram and an ATI Radeon HD 5770 graphics card. I have heard NVIDIA is the way to go, but we aren't upgrading/changing graphics cards in the immediate future. So for now, this is what I will be using. Hopefully this is not the sole reason I can't playback/see anything in my source monitor with my r3d files.
Thanks
Daniel

Excellent! Changing to the Adobe player solved that problem (although, of course, it presented new problems, all related to Blackmagic card). Also, to answer your question-- yes, the pro res proxy files were working fine in Premiere.
Now I can see and edit my r3d files, which was paramount. However, now I can't get either the source monitor or program monitor to output playback through the blackmagic card to my external monitors (42" LCD and a smaller 17" Sony color correction monitor). I should note that both of these monitors are routed through my blackmagic card so they don't show up as options under the "playback settings" tab in the source/program monitors. Do I need to rerout these monitors differently so that Premiere Pro recognizes them and will utilize them as external monitors? I need them to playback for clients, bosses, etc.
Another note-- If I make my sequence a blackmagic preset, it will output the program monitor but only playback a few frames and then freeze. If I make it a RED cinema preset, it will playback fluidly but won't output to my external monitors.
The freezing, in my assumption, is due to the fact that the only blackmagic editing mode available is uncompressed 10bit, which doesn't playback well (it uses an editing mode of uncompressed 10bit even when I pick JPEG for the sequence preset).
I guess, in summary, my question is-- does blackmagic not integrate well with Premiere Pro CS5.5? Should I re-rout the monitors not using a BNC cable into the blackmagic card, but instead DVI them into the back of the Mac Pro? Thanks again Colin,
Daniel

RED R3D files "unsupported" after project save

Suddenly, yesterday, my R3D files from our RED cam are unusable / unsupported after project file save. Opening and existing project and prior to saving the RED files work fine. Importing RED is also "unsupported" after saving the modified project file. Closed the project to test importing into a blank project, still no dice. Restarted AE and still can't import. Only thing I haven't tried yet is restarting and importing into a blank project.
So the only way I've been able to work with my RED footage is to open the project file that previously had them imported before this issue and not to save. Once I save the unsupported errors show up. None of the RED footage is corrupted.
I'm currently moving one of the clips to a direct attached drive to rule out our NAS. I'll update soon.
I've been using RED in CS6 and CC without problem for many, many months (possibly years, I lose track of time in my cage)
RED footage is from an EPIC Mysterium and in a format we've used many many times
29.97, 5K (5120 x 2700), REDcode 5:1, no HDR, Firmware 3.2.21 (48926)
After Effects 12.2.1.5
Mac 5,1 running 10.8.5
NVIDIA k5000
Synology NAS (slow for RED work but reliable and cheap)

This was a while ago, but I think I went into REDCINE-X Pro at the time and clicked all the "D" buttons to set the metadata back to it's defaults. If that doesn't work, maybe try deleting the RMD file which contains metadata modifications. Also, notice that at the bottom of my post I indicated that the newer version of the software made resolved that problem, so try using newer software to open the media file which, I think, updates the RMD file and allows AE to use the R3D file.

Experiences with RED R3D: in CS5 and in general?

I'll be posting my first spot with footage from a RED One this coming week. I've only played with a few clips, and not tried anything "real" with it yet.
The footage is being shot in 4K 16x9, I believe at 23.976. Final delivery will be 720/30p for broadcast/cablecast. Fortunately, no sync sound to worry about in this one. I'm getting the RED drive full of footage tomorrow afternoon, so I'll have a little bit of time to play with material.
My system seems to be OK with the 4.5K clips I've been testing. I kick it down to 1/4 Playback and 1/2 Paused resolution, and things seems snappy. My system is an i7-930 @ 4GHz, 24GB RAM, GTX 480, 4-drive RAID 5 off mobo that serves as my primary editing drive.
I'm looking for any general advice for dealing with this material in general at the OS level, just in case there are any best practices, and any gotchas as far as CS5 is concerned. I'm trying to determine what the best sequence setting to use would be; do I want to use a matching RED preset, or post at my destination frame size/rate? My usual approach with my own 1080p material (DVCPROHD, primarily) is to edit in a full raster 1080p sequence, and then export directly to 720p for deliver. I'm thinking I'll take the same approach here, working at 4K and exporting to the final, but I'm open to suggestions. Working at a smaller frame size would obviously give me reframing options.
I may do a bit of light AE work on this; nothing too much as I've got flip this pretty quickly. I'm hoping to make this one shine--the producer is terrified of RED (of course, he's the one that usually shoots 35mm and has it telecined to miniDV), and if this goes well I'll have plenty more regular spots to do like this... and I'll get to raise rates!
Thanks in advance to you seasoned REDitors

Hey Colin,
I've worked extensively with R3D in PPSC5 and REDCINE-X.
First note--don't bother with Cine-X... Now that CS5 (as of 5.0.3) supports the new color science in build 30, there's no need to use Cine-X as an intermediary. In my experience it's both very slow and also VERY unstable. If you start doing too much, it crashes. And that's not just my system, word on the street is that Cine-X is unstable both on the PC and the Mac, period.
So, use PPro CS5 for everything you do with R3D.
If you're going to reframe, then yes, go ahead and edit at 720. There are RED presets for down in the lower ranges, too, so I'd use a RED preset at 720p30 in order to stick in the RED presets for editing. It may not make a difference, but I just look at is as best-practice... Either way, stick in a RED preset.
RED works beautifully in PProCS5... I've got a 920 with a three-disk RAID-0 and the GTX285 and I put it at 1/4 and full rez for paused and it works beautifully up to four layers. I've not worked past four layers, but it was still smooth when I hit four.
Note for you with the clip settings dialog for the RED... You can save presets, so go into your first shot from a specific setup, get it the way you like it, and then create a preset for that. Then just select the rest of the clips in the bin from that shot angle and apply that preset. Repeat for different shot setups as needed.
Adobe's done a great job building in really fluid, seamless support for RED, and with the 5.0.3 release, they've got support for the Build 30 color science as well.
Editing R3D has been a great experience for me...

How to edit a multiple audio video clip on Premiere

Hello everybody
Maybe this is a dumb question, I'm sorry if I'm asking what is obvious for you, but I swear I tried to find on the web and on this forum, but I couldn't find anything.
Well, I made a video using a screen capture software called Dxtory, that provides me the ability to record my PC screen, with multiple audio tracks.
Ok, now I have a 15gb avi file. When I open this file in the Media Player Classic, I can play one or both channels. The first channel is the original audio captured from my PC. Every audio generated by my PC is in this track. The second track is my voice, with my commentaries. I have all of this in one single file. They are not splited. It's just one file.
Then when I import into Premiere, the software just recognize the video track and the first audio track. I can't find the second, with my voice.
I know I can split the clip into 3 files (1 video and 2 audios) but it would take longer. I just want to drop the file on Premiere and edit the audio volumes quickly, because when I talk I would like to low the volume of the PC audio.
Now, the question: Is there a way to Premiere recognize both tracks in this single file? How?
Thanks in advance for any help.

I'm actually surprised that Pr can import this at all--the video is Xvid. Maybe it's some variant that Pr's importers can handle, as Jeff suggested. I dunno--it doesn't play well for me, regardless, and I'm not going to install the Dxtory codec to find out.
Anyway, to the matter at hand: while AVIs can, apparently, contain multiple audio tracks, Pr's importers are limited to a single track. However, Pr has other importers than can handle multiple audio tracks. QuickTime--which is a wholly different process--supports multiple audio tracks, as does MXF (some flavors). However, Xvid in QuickTime (which is feasible) won't import in Pr (at least on a PC), and Xvid won't go into an MXF file at all; that means you'd have to transcode. Personally, this would be my choice--but I found that the original clip played back pretty terribly, so that would be why I'd go that route.
Additionally, you could extract the second audio track to a separate WAV file, import both the AVI and WAV, and then use the Merge Clips feature to marry them together as one pseudo-clip. Not perfect, but it would work. The benefit is that you don't re-encode anything.
So, I've got solutions for both the re-encode/MXF option (my preference) and the AVI/WAV option. Here's proof of the MXF (transcoded video to XDCAMHD422 50Mbps) with four audio channels (stereo must be split to dual mono):
At the end of the day, these (or a variation of them) are your only options. Pr simply won't import multiple audio tracks (even dual mono) in an AVI container. Let me know if you're interested in either of the solutions.

Duplicate / multiple RED R3D clips

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