Editing RED RAW ... final output for color?

I'm editing with RAW RED files straight from camera. Looking good but just want to know what my best possible output file and quality scheme should be. Anyone else here do this workflow?
I want to send out REDlog Film Gamma space for my color session and I've selected that for all my clips but is there any quality debayering setting I should select before output? And to what file extension output? DPX max bit depth? Uncompressed 10-bit?
Any suggestions would be much appreciated. Thanks!

I don't have any RED media to work with, so I can't help with this specific problem. But...I could use another pair of eyes on a separate issue that might also affect you if you're media was shot at 24 fps, rather than 23.976.
http://forums.adobe.com/thread/1385093?tstart=120

Similar Messages

Red Raw Source Settings - multiple settings for one long clip?

Hello everyone,
I have a timeline with red raw material from Red Scarlet 4K. My DOP wants to make some adjustments in the source settings before Grading. I have some long merged clips (with a lot of changes in light etc.) and I have let`s say two different parts of one of the long clips in the timeline, so I tried to make some changes in the source settings for those two clips in the timeline, but the source settings change the master clip and not only the edited clips in the timeline. Is there a way to make adjustments in the source settings separately for every clip in the timeline?
after I open the source settings it won`t show me the part of the clip which I have in the timeline, but the whole clip from the beginning, so I have to search manually where my clip in the timeline begins, so I know how to adjust it. Is there a way that the source settings show me only the part of the clip (or at least an in and out point) I have in the timeline?

In my experience, each .RDC container can only have a single RMD (settings) file associated with it.
To create multiple settings for the same clip, you would have to duplicate the .RDC folder and its contents for each new setting required.
You would then have to replace each use of that file within your sequence, for each new setting required,
i.e. 3 settings would require original plus 2 duplicate .RDC folders, then you'd have to replace each occurrence of that clip with 1 of 3 files that has the proper new setting.
Now, of course, if you're not grading in PrP, I can't say how the color correction software would know which duplicated files or settings to link to.
No, there is currently no way to open the Settings dialog for a .R3D file and have it match frame to a clip in the sequence. Perhaps you could submit a feature request for that option.
Adobe - Feature Request/Bug Report Form

I just updated to new final cut pro x 10.1.1 and i am also on mavericks so but on my editing timeline i was trying to color grade using magic bullet looks but i am having problem with it. when it comes back to tcp x it's black.

I just updated to the new final cut pro x 10.1.1 and i am also on mavericks so but on my editing timeline i was trying to color grade using magic bullet looks but i am having problem with it. When i send a sample to MBL and color grade it , it comes back to final cut pro x all black even after render. By the way on the MBL i am using the GPU rendering, I used before like 4months ago and it was fine. And i don't like to use the CPU because it very slow.

What is the frame rate of the project? At what frame rate was the media recorded? What frame size?
What are the audio settings?
What are the specs of the machine, in particular how much RAM, how is the hard drive connected, etc.?
If possible, post screenshots of the inspector for the project.
It could be related to the audio frequency?

Editing Red Dragon Raw 6k Footage with Premiere CC and/or CC 2014 - Which is better and what issues should I expect?

Hi All
As the title asks;
1. Are there any known issues when Editing Red Dragon raw 6k footage in Premiere Pro CC/CC14 ?
2. Which version of the software would be the best choice ? CC/CC 2014 (I have both)
This is my first Red Dragon 6k Project in premiere CC software and although I have used CC extensively since its release I am working with a tight turnaround so making sure I have as much info as possible to troubleshoot. (if needed)
This question is directly related to the software and any known issues. It is not hardware related as we are setup for that side of things with very fast SSD -> Thunderbolt storage and powerful machines.
Any info or experiences would be greatly appreciated
Thanks
Piers

Hi Piers - did you ever get an answer or figure out a good workflow for editing 6K in premiere?
If so, i'd appreciate you sharing what you've learned.
Thanks!

RED Raw color correction with "curves"

Hi there,
i was wondering, if, when i am color correcting RED Raw files with the effect "curves" (for example) am I working with the full dynamic range of the RAW footage?
Is the range different, if I work in the RAW-Ediotr that i reach through the "interpret footage" dialogue box?
We are trying optimize the workflow for a certain project and would rather use effects on the footage layers, rather than interpret them (yeah, we´re really lazy).
Thanks a mill,
Björn

Yes, you are working with the full range from the .r3d files when applying effects in After Effects. In fact, you have more problems with colors clipping if you manipulate things like exposure in the RED settings than if you manipulate them in After Effects with effects (though that is better now than it used to be).
You should work with your project in 32-bpc color to make sure that you're preserving color information all the way through the pipeline.

I have AVI files that I need to be MOV files so that I can edit them in Final Cut Pro. I am going to use Quick Time Pro for this....do I have to 'export' it or can I just 'save as', or is there even a difference? Thanks in advance for your help!

I have AVI files that I need to convert to MOV files so that I can edit them in Final Cut Pro. I am going to use Quick Time Pro for this....When I have the files open in QT Pro do I have to 'export' it or can I just 'save as', or is there even a difference? Thanks in advance for your help!

I strongly recommend you use compressor to do the conversion (if it will open the files - since quicktime will open them, it will more than likely do it.
Compressor allows you to customize presets and save them and apply them to multiple files. Although the interface may seem daunting, it's actually pretty simple.
Even if you can edit the avi in fcp, it's not a good idea. Liable to cause problems down the road.

Lately Photoshop CC 2014 in my PC gets blocked when doing panoramas. First I edit my raw photos in Lightroom, then export to Photoshop for making panoramas. My Pc runs Windows 8.1 64 bits 8Gb Ram, Lately Photoshop CC 2014 in my PC gets blocked when doing

Últimamente Photoshop CC 2014 se detiene fusionando las capas al hacer panoramas. Primero edito mis fotos Raw en Lightroom luego las paso a Photoshop para hacer panoramas. Photoshop las abre y fusionando las capas se detiene.
Según el administrador de tareas cuando se bloquea tiene ocupado el 81 % de memoria 25% de CPU y 1% del disco.
Mi PC tiene Windows 8.1 de 64 bits y tiene 8 Gb de ram
Lately Photoshop CC 2014 in my PC gets blocked when doing panoramas. First I edit my raw photos in Lightroom, then export to Photoshop for making panoramas. My Pc runs Windows 8.1 64 bits 8Gb Ram

Últimamente Photoshop CC 2014 se detiene fusionando las capas al hacer panoramas. Primero edito mis fotos Raw en Lightroom luego las paso a Photoshop para hacer panoramas. Photoshop las abre y fusionando las capas se detiene.
Según el administrador de tareas cuando se bloquea tiene ocupado el 81 % de memoria 25% de CPU y 1% del disco.
Mi PC tiene Windows 8.1 de 64 bits y tiene 8 Gb de ram
Lately Photoshop CC 2014 in my PC gets blocked when doing panoramas. First I edit my raw photos in Lightroom, then export to Photoshop for making panoramas. My Pc runs Windows 8.1 64 bits 8Gb Ram

After editing a RAW image in PE13 I can't get it back into my iPhoto library. If edited in iPhoto first and sent to PE13 for adjustments, it can be sent back to iPhoto library. Ideas?

After editing a RAW image in PE13 I can't get it back into my iPhoto library. If edited first in iPhoto, and sent to PE13 for adjustments,
I can get it back into my iPhoto library. Ideas?

Thanks for answering my question. I always have had RAW checked to an external editor which is PE13 on my Preferences panel in iPhoto.
I probably didn't make myself clear. When I send an ORIGINAL RAW untouched, unedited image to PE13 and do the editing and the
adjustments- (it looks great) and then try and SAVE it and forward it to my iPhoto library, it will not be sent. On the other hand if any editing
at all is first performed in iPhoto and then sent to PE13 for adjustments, and I SAVE it, it asks if I want to Replace this new edited image with
what already exists in my iPhoto library, I click REPLACE, the little wheel spins, I go to iPhoto and the new image is there. PE13 does
accept an original RAW image for editing because it will save it in PE13 in the RECENTLY EDITED column. Ideas? I need to keep my iPhoto
library intact. Ideas? Thanks.

Hey Guys stupid question for final output.

Heres a dumb one guys. Ive been working long enough with this program and ought to know but Im having a terrible time. Let me start from the end.
Final output is 1280 X 720 QT movie inserted into keynote 08' in a new imac 20"
Knowing that computer displays, display a square pixel I start there.. here are my project settings.
preset: custom
1280 x 720
8 bit
ntscd1/dv
field order none
dither -unchecked
field rendering and motion blur off
All looks good here... then off to FCS2 timeline.. here are those settings
1280x720 (hdtv 720p 16x9 pulldown
pixel aspect ratio: square
field dom: none
Compressor: dv/dvcpro ntsc
So heres the deal...my video all looks great once on the imac, My GFX however are blown out and somewhat blurry...... I have messed and messed with this thing. My original thinking was to stick with broadcast specs and all would be fine, Now ive starred at this for so long Im losing focus.
So heres the big question.. knowing we going to a computer display what settings would you guys use??
Thanks

I don't know a huge amount about NTSC, but you seem to be mixing square and non-square pixels here from what you have written.
If you drag a rendered clip into a new timeline do you not get the dialogue box asking if you want to make the sequence into the same format as the clip?
Check render settings too
Peter

I have just finished editing a feature length documentary for theatrical release. How should I output it for the highest quality finished product?

I have just finished editing a feature length documentary for theatrical release. How should I output it for the highest quality finished product?

You may find this article. interesting.
Good luck,
Russ

GPU options for editing RED 4k via Mercury Engine

Hi Everyone,
I've done a fair bit of research in terms of GPU options, but have yet to have found any decent information regarding specifically the RED 4k workflow.
I'm currently in the process of building this workstation:
i7 2600 Overclocked @ around 3.8Ghz with Corsair H80
Gigabyte Z68X-UD3H Mobo
16GB 1600MHZ Corsair Blue
2x HDs in RAID 0
1x SSD for operating system
2x 24in Dell Ultrasharp @ 1920x1200
My three options currently are:
GTX 570 1.2Ghz @ £220 - 480 CUDA Cores - 320bit
GTX 580 1.5Ghz @ £350 - 512 CUDA Cores - 384bit
GTX 580 3.0Ghz @ £430 - 512 CUDA Cores - 384bit
The sole purpose of this workstation is to be able to edit 4K R3D files at 1/2 res. Does anyone have a similar setup, if so how does it perform with R3D files?
My financial situation isn't great after just shelling out £15,000 on a Scarlet, but seeing as this setup is built solely for the purpose of editing RED content it seems silly to shoot myself in the foot trying to save a buck on the GPU . The 570 is a third cheaper than the 580, but would I notice any real world difference in the editing capabilities of my workstation?
Does Premiere CS5.5 fully utilise the extra 32 cores between the 570 and 580? Are there any advantages of having the extra GPU processor speed between the 1.5Ghz and 3.0Ghz when it comes to Premiere, such as being able to have more 4K streams in the timeline for instance? Are there any obvious bottlenecks in the proposed system?
I understand that Quadros would be the best way forward for workstation acceleration, however unfortunately these cards are out of my budget.
Thanks for your time.
Ross

Ross,
In a thread from 2011 (http://forums.adobe.com/thread/883259) I posted the following test results:
...my test results with the RED 4.5k footage on a high-end PC that does not have any special hardware installed (RED Rocket, etc.), I've summarized my findings below:
PC: Intel i7-970 at 4.2GHz, 7x1TB RAID 5 array, and a GTX 480 with 1.5GB GDDR5 VRAM:
TEST 1a: Hardware MPE and un-rendered timeline:
- Scrubbing and playback at 1/2 resolution - perfect quality, no lag whatsoever, CPU usage around 70% (wow, that's with 6 real cores and 6 hyperthread pseudo cores!)
- Scrubbing and playback at full resolution - HORRIBLE, unusable
TEST 1b: Hardware MPE and fully rendered timeline:
- Scrubbing and playback at full resolution - perfect quality, no lag whatsoever, CPU usage around 20% for playback
- Full timeline render is pretty slow - about 9 minutes for 1 minute and 20 seconds of clips on the timeline
TEST 2a: Hardware MPE and un-rendered timeline; this time with 4 layers displayed simultaneously (each at 50% size and in a separate corner):
- Scrubbing and playback at 1/4 resolution - perfect quality, no lag whatsoever, CPU usage around 100% (again, wow!); also, I have to add that RED at only 1/4 resolution is still pretty stunning!
- Scrubbing and playback at full resolution - HORRIBLE, unusable
TEST 2b: Hardware MPE and fully rendered timeline; same 4 layers as test 2A:
- Scrubbing and playback at full resolution - perfect quality, no lag whatsoever, CPU usage around 20% for playback
- Full timeline render is again pretty slow - about 7 minutes for 4 clips around 20 seconds each
I'm very unqualified to tell someone how to build a system for RED, but my sense from running those quick tests was that RED taxes your CPU massively, but the GPU not so much.
If you have not purchased your CPU yet, go for the 2600k model and shoot for a higher OC, say around 4.4GHz. I think that you will want and / or need lots of CPU "grunt".
Regards,
Jim

Editing non-raw image files in Adobe Photoshop

Hi,
I am currently digging into the world of Lightroom and setting up a work flow which in my case needs to include editing non-raw files in Adobe Photoshop.
Please bear in mind that I am quite new to Lightroom so I am not sure I have found all shortcuts and settings to manipulate.
I will explain what I trying to do (and why) and hope that the community can comment and help put if possible.
I myself shoot almost everything in RAW format, and I have been using Photoshop (PS) and Camera Raw (ACR) for some years now. I am now on Photoshop CS6.
But now the amount of images to handle requires a CMS, so I went for Lightroom 4 - hoping/believing that I would find an effective and efficient work flow integration between the two Adobe products.
But I am more and more also helping others to enhance their images, and I most often get jpg files as image source.
I am used to using PS layers, filters, smart objects etc extensively to do what I want to do.
OK, I admin that I already use ACR quite a lot, and sometimes even as the only tool even for jpg images.
I have began diving/snorkeling with friends and often the images we bring back home is in jpg format, and so far I still believe that the best image "restoration" can be done in Photoshop using adjustment layers, channel mixing and filters to get satisfactory results.
So now on to my concerns and issues:
1) Lightroom user interface efficiency - "Edit in"
When I want to edit a jpg image in Photoshop I :
action
comment
- left click image to select it
ok, I agree this is needed
- right click image to bring up context menu
ok, I agree this is needed
- move cursor to "Edit in", and wait for another context menu
ok, ...
- click "Edit in Adobe Photoshop CS6"
Yes that's want I want
- Lightroom presents the "Edit Photo with Adobe Photoshop CS6" selection menu.
Yes I know, I saw it the last
nnn times I did it
- if I need option "Edit a Copy" or "Edit Orginal" I move cursor again, left click to select ,
   move cursor to Edit and left click
- and finally Lightroom sends the jpg image to Photoshop as a jpg image
No, I want a tiff file since that
is what I have set up in
preferences
OK, I know that I can also use the keyboard instead of mouse for this, but the number of actions required from my side is pretty much unchanged.
For a quick working, Lightroom and PS skilled person, this is just annoying.
Is this effecient?     Well it depends. For Lightroom beginners this is good. But for me it is a true annoying obstacle
2) Lightroom "Edit in" - is it effective
Is this effective?     I say no.      I have specified in preferences that I want PS to receive a TIFF file in Adobe RGB 1998 color space
                                                   Also, I cannot change to TIFF in PS without losing the link between the two images. (If I do, the new TIFF file is not imported by Lightroom, so I have to that manually)
I have found out that I can choose the path "Select image - select "Open as Smartobject in Adobe Photoshop".
This will give me a tiff file, and when saved in PS the jpg and tiff files are linked and Lightroom has automatically imported the tiff file into the Catalog.
What I need / what I would like to know / what I would like to have:
* Is there a (customizable) keyboard shortcut that enables me to: Select Picture + Use shortcut - and then I end up in Photoshop (with the Edit option I use 90% of the time) ?
* Is there a preference that I can set so that jpg images also are opened as tiff files in Photoshop per default?
* Is there a way to select multiple images and launch them all in Photoshop (and keeping the link between the jpg and tiff files) ?
* I would like a preference setting allowing me to choose that any new file coming back from Photoshop (after "Edit in" ) is written to a sub-folder, or to a specific folder set by me.
   This would align with my work flow for jpg handling, where the jpg is the "original" and the tiff file is what will eventually end up as image "master" (from where I print, or produce web / HDTV jpg's).
* Is there a way to automatically launch a Photoshop Action on the file coming from Lightroom?
   This would also help in my work flow. E.g. I have currently 100 jpg's and avi files which are UW (under water shots) and the adjustment layers I build are always the same (to start with).
   Of course, I can launch the Action once I am in Photohop - but again, doing 1-5 times is ok, doing it more than 100 times ...
* I am skilled computer programmer - can I use Lightroom SDK to write plug-ins to achieve the above enhancements ?
Regards
Bosse W

* Is there a (customizable) keyboard shortcut that enables me to: Select Picture + Use shortcut - and then I end up in Photoshop (with the Edit option I use 90% of the time) ?
-- The keyboard shortcut Command/Ctrl+E will perform steps 2-4 in your above list. You only have to click the Edit button, as the last choice (Edit Original, Edit Copy, Edit Copy with LR adjustments) will be remembered.
* Is there a preference that I can set so that jpg images also are opened as tiff files in Photoshop per default?
-- No, a JPEG in Lightroom will always open as a JPEG in Photoshop. If you have made changes to the file that are not supported by the JPEG format (e.g. added a layer) when you go to save the file, it will be saved as either a TIFF or PSD, based on the preference in Lightroom.
* Is there a way to select multiple images and launch them all in Photoshop (and keeping the link between the jpg and tiff files) ?
-- Yes, select all the files you want to edit, and use the keyboard shortcut, menu command, or right-click context menu command.
* I would like a preference setting allowing me to choose that any new file coming back from Photoshop (after "Edit in" ) is written to a sub-folder, or to a specific folder set by me.
   This would align with my work flow for jpg handling, where the jpg is the "original" and the tiff file is what will eventually end up as image "master" (from where I print, or produce web / HDTV jpg's).
-- No, there is no automatic way to do this. If you use the Edit a Copy method, the copy is created instantly in the same folder as the original.
* Is there a way to automatically launch a Photoshop Action on the file coming from Lightroom?
   This would also help in my work flow. E.g. I have currently 100 jpg's and avi files which are UW (under water shots) and the adjustment layers I build are always the same (to start with).
   Of course, I can launch the Action once I am in Photohop - but again, doing 1-5 times is ok, doing it more than 100 times ...
-- Yes and No, this is not something that can be setup in Lightroom, but you can set it up in Photoshop using the Script Events Manager.
* I am skilled computer programmer - can I use Lightroom SDK to write plug-ins to achieve the above enhancements ?
-- Yes: http://www.adobe.com/devnet/photoshoplightroom.htmlhttp://www.adobe.com/devnet/photoshoplightroom.html

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

Red RAW (R3D) renaming

I'm ingesting Red RAW (R3D) files directly from the Red Mag (memory card). The default file names on ingest is the root folder on the memory card so all files gets the same name. The original filenames on the card is nice since they start with camera ID + reel number + underscore + camera position + take number + underscore + some code to make it unique. I would ideally like to name the ingested files to the first part of the filename (include the take number) but if that's not possible then I would be OK with just keeping the full filename.
I tried to create file rename preset in Prelude CC where I chose Filename but it don't work. Even with this preset it still use the root folder name for all files ingested.
Is it a way for me to fix this or is this a bug that is expected to get fixed?

Hi Micheal
First, thanks for contacting me. I'm very impressed with Adobe's customer
service and development team's interaction with users, especially after
switching to CC.
Let me give some context, because I think my firm is representative of a
lot of your users.
I'm a DoP and editor for a small production and post house, and we operate
a RED camera. Our shoots are tight on time and budget, with a fast turn
around. A typical shoot might be a corporate video, shooting interviews in
the morning and b-roll in the afternoon, with a small crew.
So I need a solution where as DoP I can set up a laptop DIT station, (maybe
in a vehicle), with 2 portable usb3 drives connected to a macbook, and hand
off cards to a 1st AC/2nd AC, who may not be 100% familiar with the
software. I need to be able to tell him or her 'put this card in the
reader, hit this button, and then when the green light pops up, switch
cards and repeat', and be 100% sure that the clips are where I want them,
and see at a glance when things are done, when I'm concentrating on 10
other things.
So on that basis:
Ingest:
Bins:
It needs to be 100% clear which bins clips are going into. The interface
should reflect this. At the moment the clips go into the most recently
selected bin. This should be better highlighted. Maybe at the top of the
screen it should show the currently selected bin. Maybe the project window
should work more like PP. Either way, if I'm working in a bin hierarchy
called 'Day 1/Card 1' that where I want my clips to go, and it to be
clearer. Maybe the option of an automatic bin generator, eg bins are
created on ingest based on name/date/camera etc..
Folders:
I'd love presets in the ingest window.
For example preset 'RED multi-day shoot 01' has the following attributes:
Primary ingest: All clips are ingested into a folder called: [project
name]/[date]/[REDMAG NAME]
Secondary ingest: All clips are ingested into a folder called: BACKUP
/[date]/[REDMAG NAME]
So that the folders can be named by metadata, eg: date ingested, date shot,
date shot and card number..... etc.
For example, I worked on a shoot the other day, where we were working with
RED and 5D. Two camera crews, 1 laptop. We wanted the 5D footage to go into
the same drives but different folders. It would have been great to have 1
preset for the 5D and 1 for RED,. so that we could just switch easily
between them.
Also auto selecting all the clips on the drive as default. It should be an
option that I stick a Redmag into the redmag reader, and prelude
automatically finds the footage and ingests in into the drives/folders I've
setup, with the right folders, the clips renamed in the project correctly,
with clips spanning dealt with correctly, and metadata populated, into the
pre-selected bins, with a cherry on top.
During ingest:
For me this next part is key. Currently, I point the ingest dialogue to the
drives I want, click go and I'm presented with...... a slow moving
percentage bar.
My Director calls out ' how long till we've finished offloading?', and I
say....'umm'
I have 2 redmag readers connected to the laptop. I don't want to have to
wait for 1 to finish ingesting before starting the other one. Currently,
if I start an additional ingest, my bar just jumps from 90% to 15%. I don't
know when the first card is done, or if it's safe to remove.
So, I'd like to see:
A big indication 'INGESTING' ie 'DON"T TOUCH ANYTHING INTERNS!!'
Data rates and an estimated time.
Some kind of visible queue.
The option to pause cards, or change the priority.
Knowing where my bottleneck is - which drives are ingesting fast or slow
(maybe some kind of traffic-light in indicator?).
Is the secondary destination copying from the primary or from the original
card?
Deferred transcoding - transcoding later in the background while I'm
sleeping at the hotel.
And finally a big green tick/light when a card has been ingested, and
checksum verified, and automatic ejection!!
A few less important extras:
Recognition of other file types eg Canon RAW stills.
Easier to use metadata fields (eg option to add GPS info, or weather info
to the clips, or to mark each clip with INT/EXT. Even to add crew names to
the clip).
Basic color correction (eg red Source settings/RED looks).
GPU acceleration like the new REDCINE-X would be great, but I'm sure this
will happen across the Premiere and Prelude eventually)
(Secondary note: Ideally I'd like a metadata/keyword based workflow a
little bit closer to FCP X, through from Prelude to PP. I'd love to have a
PA with some time on their hands on set start keywording clips so I can
search later for all clips with people in them, or all clips shot on a
certain lens, bet that's a bit outside the scope of this request.
Lightroom is pretty good at some of this (auto-ingest, but not showing
accurate transfer rates/times). Also look at Double Data https://www.
doubledata.biz/ I'm reluctant to take food out of their mouths, but I lot
of the functionality I'd like is there. I'd just use Double Data, but I
like the idea of being able to build bins and do rough cuts in Prelude on
the plane home, or in a van on the way back from the shoot. And as I said,
I love the keywording workflow in FCPX. For all those guys got wrong, they
made a LOT of smart innovations.
Thanks so much for taking the time and effort to read and consider my
suggestions (of course that's all they are - some of these functions may
already exist, I'm still learning a lot about the suite - and there may be
much smarter ways to implement them - I'm not a software developer, just an
overworked camera guy who want's an easier life and less ways to mess
things up)
Keep up the good work!
Sam
Sam Gordon
Piranha
www.piranhanyc.com
120 Wooster Street | 6th floor | nyc
office 212.966.0468

Suggestions for Color Correction or Encoding?

I've begun videotaping concerts for a local venue in Chattanooga, TN. I use three Canon HV40s, record the sound from the board, and edit in FCP7. I have Magic Bullet but do not use it for these concerts. Finally, I use Compressor 3.5 to encode. Here's the link below, plus the encoding specs. Does anyone have any recommendations to make the video sharper or better color? I have not been happy with the 3-way color corrector, because even the slightest adjustment to the lows blows them out. I know one of the problems is that the HV40 is not a prosumer camcorder and does not handle low light very well. The other question, about the sharpness - should I change my pixel ratio from default to square? That's the only thing I can think of that would make it pixelated like that (it's not terrible but I think it can be better). Thanks for any feedback!
http://www.clarkvideoproductions.com/shows.html
Name: Archiving
Description: for HD content
File Extension: mov
Estimated size: 6.44 GB/hour of source
Audio Encoder
AAC, Stereo (L R), 44.100 kHz
Video Encoder
Format: QT
Width: (100% of source)
Height: (100% of source)
Pixel aspect ratio: Default
Crop: None
Padding: None
Frame rate: (100% of source)
Frame Controls On:
Retiming: (Fast) Nearest Frame
Resize Filter: Linear Filter
Deinterlace Filter: Better (Motion Adaptive)
Adaptive Details: On
Antialias: 0
Detail Level: 0
Field Output: Progressive
Codec Type: H.264
Multi-pass: On, frame reorder: On
Pixel depth: 24
Spatial quality: 75
Min. Spatial quality: 25
Key frame interval: 30
Temporal quality: 50
Min. temporal quality: 25
Average data rate: 15.36 (Mbps)

You really gave yourself the answer -- better lighting and gear will help a lot.
I'd take a look at Color for messing with your footage. It will take some time, more time than better shooting does (going back to the "don't try to fix everything in post" theme). Now you know why the big guys spent so much time setting up to get it right (and why they cost more).
I see you're rendering MP4, but what's your final output? Is it for web, DVD, or a file streamed off a computer?
Note that some of the consumer cameras do better in low light than the big ones. But typically you're in a high key, high contrast lighting situation. They're not the same.

Editing RED RAW ... final output for color?

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