Picture stretched after outputting edit of Red One footage

I exported edit of Red footage to self contained Quicktime and movie looks beautiful. However, when I used Quicktime file as source in DVD Pro or Compressor, the picture is slightly stretched vertically and there is bad artifacting. I noticed that the Quicktime file frame size is 2048x1024 (2:1 aspect ratio). I used log & tranfer ProRes 422 (16:9 aspect ratio) to capture footage and same sequence settings to edit. It looked great in FCP. What the heck am I doing wrong?! Why the difference in the aspect ratios?

Actually, I have been informed that the RED whitepaper I used to guide me through the process of ingesting and editing in FCP was incorrect. They assume that everyone shoots at a 2:1 aspect ratio. My DP shot at 16:9. So, per RED instructions, I customized a ProRes 422 (HQ) codec by changing the aspect ratio to 2048x1024 (2:1 ratio)....WRONG!! If I had been more experienced, I would have questioned that spec immediately. FCP compensated by cropping the top and bottom. I didn't notice the blue guides missing at the top and bottom until someone asked me if I could see them. In short, I've solved the stretch problem. But I still have really bad artifacting in the MPEG2 files created for DVD. I'm trying to figure out why that's happening. Also, I uploaded a web version of the short film and heard ringing in the soundtrack where there was music playing. My audio in the FCP edit is at 48Mhz and the output file is 44Mhz. Could that be a problem?

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Importing red one footage with final Cut 6

Im getting an error message saying file type is to new for final cut to recognize. Iv'e downloaded the latest red one codec and installed it but I can't believe I won't be able to see the footage on FC6? Am I really going to have to upgrade to 7?

I would do the transcoding to ProRes 422 in Redcine-X. Then import those files into FCP. It works better than FCP's Log and Transfer when working with RED footage. You have more options for transcoding.

Red one footage to dvd?

What settings do y'all use in Compressor?
I'm doing a short film, so I upped the avg bit rate to 6.7 and a max of 7.7 (can I go higher safely?) and set the resize filter to Best as well as Best deinterlace. Everything else I left alone.

With a variable bit rate I would never set the max above 8 and always use AC3 audio.
I have had things turn out well with an average of 6.5 and peak of 7.7.
This is presuming you don't have more than 75 minutes or so.
You could also try a CBR at 7.0.
I doubt you will see a large improvement with the footage no matter what setting you use.
We sometimes have problems with Compressor doing the HD-SD conversion. It is consistently inconsistent. It doesn't look good, lots of interlacing in high motion sections. The best frame control settings have addressed some of this but the render times were off the chart.
We use a Kona card to do the down-convert and then encode our SD roll-off with a hardware encoder for the best results. We have also rolled the SD back in and then exported to Compressor. If you do not have the time or a Kona card I would say it is not going to get any better.
What about a red laser Blu-Ray? If you have FC Studio 3 you can do this through share and depending on the length it could very well fit on a DVD-5. The generic settings in compressor are about 140MB a minute. You can also adjust the data rate down and the red laser BRDVD-Rs should play in most if not all BR players.

RED One camera: is someone using it and how?

I'm curious to find out more about users editing RED One footage in Final Cut Pro on Mac. All I saw was a demo at the Apple booth at IBC in Amsterdam in September.
I browsed their MacPro a bit but I couldn'f figure out what RAW images were used.
What are the REDCODE experiences?
What are the prores results?

One very cool thing is that the RED Camera creates quicktime wrappers for it's native .R3D files so that you can immediately watch back the 4K clips by using proxy files. So if you have, say, a MacBook Pro on set when you are shooting, you can download the files from the memory card and view them in realtime using a 2K, 1K, or .5K proxy.
Here is another independent RED Camera forum with quite a bit of information:
www.RedCamCentral.com

After saving project upon reopening one of my video files and it's corresponding audio is red

After saving project upon reopening one of my video files and it's corresponding audio is red (both are offline). Attempts at relink result in a warning that the audio will be deleted (which is does when tested).
This project is based on a multicam sequence (2 video files) and using Pro CC (latest Cloud build).
Anyone come across this and/or have a solution? Thanks in advance.

Appreciate your assistance and guidance Mark. Yes, I am a newbie on this forum - and fairly new to premiere pro though have used elements since version 4. I'll answer your leads below.
First off, some bookkeeping & jargon matters:
"you reported the file extension (.mts) but not the codec of the video therein. AVCHD?"
.mts files are Sony AVCHD files. filmed with Sony NXCAM NXU5 camera.
"re: the version you're on, rather than simply stating "the latest," it helps to report the exact version numbers as shown in the About box. That not only avoids any confusion today but also aids customers who come upon a thread months from now."
Version is 7.2.0
"you refer to "rendering" to a new format. I know that "render" is the right term in some NLEcosystems, but with Premiere we distinguish between rendering and exporting/encoding. Rendering is reserved for creating preview files for smoother playback within PPRO, whereas exporting/encoding covers writing a sequence out to an output clip."
My bad - I exported/encoded the sequence to a new output clip.
Now back to our regularly scheduled troubleshooting. Three questions:
did you start this project in CC7.1 and then update to 7.2/7.2.1 along the way?
I started this in 7.2.0
are either of the clips in the multicam sequence spanned?
I don't know what "spanned" refers to
I gather that you created the multicam sequence via the new workflow in the Project panel: select the clips, right-click>CreateMulticamSourceSequence. Am I right?
Correct
If so, please create a new sequence, set the timeline to insert sequences as individual clips (via the left-most button under the timecode control), add the multicam sequence to the new sequence, and post a screenshot of the timeline.
Now all of a sudden I am able to open my project file(s) as before with no problems.... very curious.
I did this and then could not find my multicam sequence.... so no screen shot... BUT what happened?
thank you for your guidance with this.

LR5: Why can't I import my pictures again after having them used for editing in Lightroom?

Hi!
A week ago I was editing 800 pictures of my last holidays in Lightroom 5.2. After having them exported I noticed that I didn't check the quality settings for export, so I wanted to import the original files again.
And that's where I'm having issues right now. I can't open them anymore. Though they are all availabe, they are shaded in grey and are not selectable:
Going back to the original holidays folder, it strikes me that it's only possible to import such pictures which I haven't picked to edit in Lightroom before:
I tested other original files of pictures I already edited in Lightroom and they work. It's only about these holiday pictures. The exported, edited holiday pictures appear in Lightroom for importing. It seems like Lightroom has problems with the original files which has been imported to Lightroom once. An Update to LR 5.6 didn't help. Has anyone any idea how to solve this problem?
Thanks
Patrick

You don't re-import photos in Lightroom. There is no need to do so and this only would cause problems.
Instead, for those photos that you cannot import, you simply find them in the Library Module, and continue to use them (if you want to export them again at different settings, then you export from the existing photo in the Library module)

When I export to Word, only the second page is editable. Page one comes in as a picture. Help?

I'm using Adobe ExportPDF.

Here's the file I'm working with. See if you have any luck.
Tad <removed by admin>
Date: Mon, 14 Apr 2014 14:22:31 -0700
From: [email protected]
To: [email protected]
Subject: Re: When I export to Word, only the second page is editable. Page one comes in as a picture. Help? When I export to Word, only the second page is editable. Page one comes in as a picture. Help?
    Re: When I export to Word, only the second page is editable. Page one comes in as a picture. Help?
    created by StacySison in Adobe ExportPDF - View the full discussion
Hi Jon,
Try placing your curser in the middle and click on that page a few times. Often this will make it available for editing.
Let me know if that works!
Regards, Stacy
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After I edited my contact list on my iphone I set up the icloud account. Now all of my old contacts have been added to the edited ones. If I delete the icould will I lose all of my contacts or just the ones brought in by icloud?

After I edited my contact list on my iphone I set up the icloud account. Now all of my old contacts have been added to the edited ones. If I delete the icould will I lose all of my contacts or just the ones brought in by icloud?

You cannot delete an Apple ID, you can just stop using it. If your photos are still on your phone now, then I suggest you do back them up. Transfer them from the phone into your iPhoto Library. iCloud only backs up your Camera Roll automatically. But the Camera Roll only contains new photos that were taken but not yet transferred using iTunes.

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 ONE Standards Coversion for FCP

I have an underwater photographer shooting on a RED ONE and he wants to shoot 25 as he is in Australia which is PAL. The footage is being shared between us, but we will be editing in FCP in an HD NTSC 29.97 sequence to match our other footage.
Is converting from 29.97 to 25 or 25 to 29.97 a better option? Or is there a better shooting mode that will convert to both better?

If you shoot 25p, you can conform the footage in Cinema Tools to 23.98fps, and add 3:2 pulldown to get it to 29.97fps for NTSC timeline.
If you shoot 24p (23.98fps default on the RED) you can just added 3:2 pulldown to get to 29.97fps for NTSC timeline.
Either way will work fine.
To add 3:2 pulldown, you can output a 24p timeline to tape in FCP, or you add it with a render process using one of my plugins for instance. I'd avoid placing 24p directly onto a NTSC timeline as that just dupes frames in FCP and tends to look bad.
Is there a need for the final product to also go to PAL? If so, what is the exact format of the HD footage on the 29.97fps timeline? For dual PAL / NTSC production, it's usually best to keep everything 24p / 25p as via conform and pulldown you can go either way with minimal picture quality issues.
Graeme

Problem with filters not finding an image in LR 4.0 after being edited in Photoshop CS6 beta

I am running Lightroom 4.0 on a Win7 Professional 64-bit system. I have come up with a strange problem I can describe but don't know how it can more generally be duplicated, unless this is a Photoshop CS6 beta bug.
I am looking through in Library module at a shoot. When I filter by a keyword that some of the pictures have, a recently edited image does not show up. Here is what I mean; let X=IMG_6260:
1) For X.CR2, edit in Photoshop CS5. All works well - X-ed.tif gets created and added to my LR previous import set.
2) Clicking on X-ed.tif, edit in Photoshop CS6 beta. All seems fine - X-ed-2.tif gets created and added to my LR previous import set.
3) The keywords on all three images - the original and the two edits - are the same. I can confirm that by, in grid view, selecting these three and noting no asterisks in the composite keyword view. One of the keywords is the person's name - let's say it is "Sara".
4) Now, when I click in the keyword list on "Sara", all images in this most recently imported set show up with her *except* X-ed-2.tif - the one created by CS6 beta.
Strange! Should this be reported in a CS6 forum? Thanks.

Yep, it returns nothing. Debug output seems to be largely irrelevant except this oddity:
-- Debug: Received Message:
-------------------------- BEGIN NETLINK MESSAGE ---------------------------
[NETLINK HEADER] 16 octets
.nlmsg_len = 36
.type = 2 <ERROR>
.flags = 0 <>
.seq = 1421583995
.port = 1853883468
[ERRORMSG] 20 octets
.error = 0 "Success"
[ORIGINAL MESSAGE] 16 octets
.nlmsg_len = 16
.type = 16 <0x10>
.flags = 5 <REQUEST,ACK>
.seq = 1421583995
.port = 1853883468
--------------------------- END NETLINK MESSAGE ---------------------------
Message type = "error" with a message = "success"? Not sure if this is normal or not

How can I change sequence setting after done editing?

I just finish editing one of my video project. Unfortunately, just found out the sequence I was working with was in wrong settings. I tried to change aspect ratio from HD1440 *1080 to HDTV 1080i (16:9). However, after I changed the setting, my footage got all stretched out. Is there someway I can still change my sequence to HDTV 1080i without distorting it? Or do I have to re-edit everything with a new sequence, which I will hate it. Thanks a lot.

Highlight all your footage and then control click or right click and choose REMOVE ATTRIBUTES, and then choose things like BASIC MOTION and DISTORT. If you have stills with moves, or some clips with push ins, you can avoid those and do them separately.
Shane

Not able to edit more than one function of new photos

I recently upgraded my iPhoto to 09 after shifting to Leopard 10.5 on my G5. Today, for the first time after the upgrade, I loaded about 100 photographs and have found that I am unable to edit more than one function at a time on these image. For example, the image contrast can be adjusted, but, following that, no other function or cropping appears to work. The saved image, after selecting "Done", doesn't show any change other than the initial edit. Surprisingly, I am able to perform multiple edits on the images that were already in the Library (8,500!). After looking at this forum's topics and trying some of the suggestions provided for other editing issues, I've tried to edit more than one function in full screen view, library and album modes with no success.
Any help would be appreciated.
thanks,
Message was edited by: Umnak ( showed incorrect OS on original)

If you go the PS or PSE route this many be of some help:
Using Photoshop (or Photoshop Elements) as Your Editor of Choice in iPhoto.
1 - select Photoshop as your editor of choice in iPhoto's General Preference Section's under the "Edit photo:" menu.
2 - double click on the thumbnail in iPhoto to open it in Photoshop. When you're finished editing click on the Save button. If you immediately get the JPEG Options window make your selection (Baseline standard seems to be the most compatible jpeg format) and click on the OK button. Your done.
3 - however, if you get the navigation window that indicates that PS wants to save it as a PS formatted file. You'll need to either select JPEG from the menu and save (top image) or click on the desktop in the Navigation window (bottom image) and save it to the desktop for importing as a new photo.
This method will let iPhoto know that the photo has been editied and will update the thumbnail file to reflect the edit..
NOTE: With Photoshop Elements 6 the Saving File preferences should be configured: "On First Save: Save Over Current File". Also I suggest the Maximize PSD File Compatabilty be set to Always.
If you want to use both iPhoto's editing mode and PS without having to go back and forth to the Preference pane, once you've selected PS as your editor of choice, reset the Preferences back to "Open in main window". That will let you either edit in iPhoto (double click on the thumbnail) or in PS (Control-click on the thumbnail and seledt "Edit in external editor" in the Contextual menu). This way you get the best of both worlds
2 - double click on the thumbnail in iPhoto to open it in Photoshop. When you're finished editing click on the Save button. If you immediately get the JPEG Options window make your selection (Baseline standard seems to be the most compatible jpeg format) and click on the OK button. Your done.
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This method will let iPhoto know that the photo has been editied and will update the thumbnail file to reflect the edit..

IPhoto for iOS removes the GPS exif data from the photo after an edit

iPhoto for iOS removes the GPS exif data from the photo after an edit
Using the iPhone camera, I take a photo and then I want to make the photo a little brighter.
So, I edit a photo using iPhoto for iOS and then save the photo back to the camera roll.
Now, I might want to see where that photo was taken via another app (like Photo Mapo) or on the map using the Photos app, or even the Mac iPhoto app.
However, the GPS data has been removed. Looks like all of the other exif data is still in the photo.
Why not just have a feature to remove the GPS data if the user wants? no reason to remove it for them.
The user explictily chose to have location services turned on so the GPS data would be in the photo.
Is this a bug?
Thanks,
Brian.

First thing to try is a reboot of your iPad. Press and hold the Home and Sleep buttons simultaneously ignoring the red slider until the Apple logo appears. Let go of the buttons and let the iPad restart. See if that fixes your problem.
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Keywords not transferring with pictures on copy and paste to a new computer. In lightroom on old computer but not in lightroom on new computer? Not all pictures, but a lot of the new ones.

Keywords not transferring with pictures on copy and paste to a new computer. The keywords are in lightroom on old computer but not in lightroom on new computer? Not all pictures, but a lot of the new ones.

I actually found under EDIT then Catalog settings / then metadata that the automatic write changes to XMP had been unchecked. Once I check this, it updated and connected all the keywords to the pictures. Now when I copy and paste the keywords show up as I can now detect them in Adobe bridge when before I couldn't see them even though they were in lightroom. . Thanks for your input.

Picture stretched after outputting edit of Red One footage

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