RED Camera

I will be getting a new top of the line iMac in the next month or so with the new Final Cut Pro X. I will be working on a feature film this fall and we might look into using the RED camera. Will the 27-inch i7 iMac with all the upgrades be fast enough to handle RED material?

For this workflow I'll assume FCPX can export an XML.
Work in a offline/online workflow using Redcine X. You transcode down to ProRes(LT) 1/8 debayer and frame size 1280 X 720. Bring those transcodes into FCP7/FCPX where you will edit. Then export an XML out of FCP and import it that into Redcine X. Here is where you take it back online to whatever frame size and codec you need for distribution. The XML has the info from FCP that will reconnect to the R3D file in Redcine X.
Most all the work can be done in RedcineX. You can color correct, edit and even sync in that application. When working with RED knowing RedcineX is a MUST.

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Red Camera Button not working anymore

so the red camera button wont let me take pictures anymore and i want it back, anyone else having the same problem

james79719 wrote:
yes i am pushing it all the way down and if the remap app is going to cause more problems forget. WHOM EVER TURNED IT OFF WITH THE LAST UPDATE NEED TO TURN IT BACK ON OR GIVE ME THE OPTION OF HAVING IT OR NOT. MY PHONE NOT YOURS.
Like it was said, the button was not turned of by any updates, your problem is most likely software related.. If it is really bothering you and want to isolate the issue just do a hard reset and take everything out of equation. Safe mode option may work but there is also a chance if a app changed this that that it could have override the program settings that can be retained in safe mode, I have ran into this before and just want to let you know Safe Mode may or may not guarantee trouble solution.
Cody21 wrote:
Question: did you install the app called "NO LOCK" ?? I had exactly the same issue on my phone after installing it. After hours of trouble shooting, I discovered that APP to be my problem and after uninstalling, the button worked as designed.
That is strange that No Lock causes you issues when I haven't had any issuers using it, shows that the difference in the combination of software on a device does make a difference..

Red camera and FCP 5

is there any way to shoot using the RED camera and import the footage or transform the footage into QT then import, into FCP 5?

Not FCP 5.
You need FCP 6.
Might check:
http://reduser.net/forum/index.php
Specifically:
http://reduser.net/forum/forumdisplay.php?f=18
and a post similar to yours:
http://reduser.net/forum/showthread.php?t=22911

Can I use Red Cam footage in FCE4

An actor friend of mine has shot a short film with a Red Cam and wants me to edit it. I assume I'll have to convert it, but can I bring that footage into FCE4, and if so what codec should I use? And how do I convert it, what program should be used. When I'm finished editing what codec should I use to export it. He wants to enter this film in some festivals so we want the quality to be as good as possible. How will the finished exported quality compare to the original Red Cam footage? I assume there will be a quality loss, but how much? And are there any other issues I should be aware of? Thanks very much--jqs

I don't know whether it will work with some sort of workflow that substitutes AIC foor Pro Res or not. I referred you to the FCP article so you would see there are a number of moving parts involved. Although I don't know of FCE users editing RED, that's not to say it can't be done. Try some work-arounds and see (and let us know). Alternatively If you know someone with FCP, possibly they would allow you to cut it on their system?
Good luck.
Russ
BTW, I don't think it's possible to unmark this question as solved. If you're not getting views because people assume it's closed, you could always post another question.

Cs3 - red camera - redcine export

Hi,
I have not done my homework yet on shooting formats available in red camera...soooo, please dont spend much time on this as the answer(s) are probably in setting up the right shooting format ( dimensions ) to address this.
Will build camera today or tomorrow and go thru the menus ( with manual )..
But...just to get started here I took the flash card from red put into my computer, transferred files of stuff shot yesterday at a demo before I took camera home.. to get an idea what I have to work with re: using cs3 and a mousey computer.
r3d footage is 4096x2048 and looks like this in redcine-x
export to tif or quicktime ( animation ) from redcine at 1280x720 looks like this in a 1280x720 cs3 project
hmmm.
will do a test export of this from cs3 just to make sure of my "workflow" ..before I get into the camera itself...( so I know what I want the thing to shoot etc....what my computer and cs3 can handle....)
or maybe setup the safe "frame-lines" to accomodate my 1280x720 and then scale in cs3...lose the right and left a little ??
Rod

Hi Jim,
(The Quicktime proxies can be ignored as they aren't "necessary" to the proper operation on a sufficient rig.)
you must be talking about those mov files saved on flash mem that are like 4kb....which as far as I can tell so far are useless...
yes, re: sound - I got the sample footage yesterday with a mic connected to the camera and set up to record sound...but as soon as I got there the guy started disconnecting stuff to show me how to build ( break apart and store in case ) the camera, and the first thing to go was the mic.
A little while later we recorded a few secs of footage so he could show me how to "load the media" etc. ( he had fcp and other monitors ( hdsdi hooked up)
From the "sample hand count" video today from flash mem, I got a rd3 file with 2 mono tracks...when exported today from redcine to cs3 I got 2 mono channels but no signal as the mic was disconected..
There are apparently 4 audio channels that can be "on" during recording with red.
so far I sorta think I can see why people say, "picking a digital camera is like picking a film stock"..cause of a certain "look" for each one. The red footage I sampled today ( 4k 2:1 ) and downsized in redcine x so my mousey computer and cs3 can deal with it, has a certain "look" to it as you go through color correction, level adjustments and so on.
It looks pretty "rich" to me...the colors in general...even when going to extremes with correction...
You know how when you use photoshop and you do big selective color adjustments the "banding" and stuff starts to happen ??...this stuff holds up better I think ... must be the sub-sampling source ? Like I said, I dont shoot so I am new at this --especially "raw" stuff...so take what I say with grain of salt...

Importing RED camera footage into CS4

I've downloaded a plug in for CS4 and all the other RED camera footage imported in fine (9 out of 10 files) expect for the last file. Here's a picture of the file names:
When I try to import these files (either through file > import) or Media Browser I get the message that the file format is not supported. Does anybody have any idea of what I could do?
Thanks!

Robodog2,
I finally got back to my office and was able to send JIm a screenshot of the issue as the file was too big to send (1GB).
The file marked A010_C001_10172V_001.R3D is the one that should import into Premiere Cs4 but as you can tell from the screen shot above, it will not.
Any help will be appreciated.
-Dave

IMac Final Cut Pro Red Camera

iMac 10.5.2
FCP 5.1.4
Red Camera 1 4k
Can I buy the Final Cut Studio Pro 2 upgrade 499.00 for my iMac and make it interpret media files coming from Red Camera.

The RED is gonna require serious horsepower. 4K man...need to transcode to workable files.
Think MacPro...maybe MacBook Pro. iMac is consumer computer.
Shane

Relinking Red Camera Files

Hi all
We are trying to media manage a project where the footage is from a RED Camera, (transcoded quick time to PRO RES) but is reading the Time of Day TC. We want to media manage and reconnect to original red files. FCP is opening the log and capture instead of log and transfer window, is there a way around that?

You cannot Media Manage only the footage used in the cut and then reconnect to the master full length files. FCP cannot do that. For FCP to reconnect to the full res files it needs to have the clips full sized, as it read the beginning and end TC numbers, and the file name and duration. If none of those match, it can't reconnect.
But...re-IMPORTING at full resolution...that should be possible. I have done this with P2. Media Manage the files, then connect the drive with the master footage, open L&T just to point FCP to the media, but only if the original location changed. If it is the same all you need to do is choose BATCH CAPTURE, and this will open the LOG AND CAPTURE interface...yes. But then it should import ONLY what you have marked in and out.
But again, I have done this with P2, not RED...so take my advice with a grain of salt. I have zero RED experience.
Shane

SX 60 HS There is a flashing red camera icon

There is a flashing red camera icon after I press the shutter button halfway. I can't seem to find out what that means. I searched the user manual,. Perhaps, I am just missing it or calling it the wrong thing. Or perhaps it is so obvious that it doesn't need to be called out specifically.
Any help would be appreciated.
Solved!
Go to Solution.

Hi Scoles15,
That flashing camera icon is an indicator for camera shake and that you should probably use a tripod or flash since the shutter speed is most likely very slow. Page 175 of the user manual provides the following information to deal with the issue:
I hope that helps you!
Steve M.

Red Camera support on the way...

http://blogs.adobe.com/genesisproject/2008/07/red_camera_support.html
This sounds very cool...I don't own a Red camera, but I am looking at Scarlet for next year.

Uh oh...I'm gonna need some towels for all my FCP friends when they start crying on my shoulder.
Seriously though, it's good news when a major 3rd party starts working with Adobe like this. One of Adobe's strengths has always been their open platform that allows it to scale with 3rd party support...a lot of people see this as a weakness, especially when you hear this conversation:
Adobe User: "When will we have support for XXXXXXX in PPro?"
Adobe Rep: "Just as soon as the 3rd party guys get on board."
Sometimes it means being last on the boat (even though Adobe's implementations for things like XDCAM EX and P2 are the most complete). Other times it means being first on the boat. And the RED stuff, for once, is such a huge boat. Read the RED forums lately and you'll see more than a fistful of people contemplating adding PPro CS3 to their workflow, or even considering jumping their FCP ship entirely (hey, if all they're cutting is RED, then it makes sense in this scenario).
My only concern is this....Adobe has a huge opportunity to blow the doors open on both the PC and Mac sides with this thing, so I just hope they work with RED well enough to ensure that all the features and bugs and stuff are ironed out well before all these potential new users show up. There will probably not be a very long window of opportunity here before Apple and Avid (and Sony Vegas...?) end up playing catch up.

Red camera support?

When are we going to see RED camera support?

i thought i can copy and paste? that is how i apply effects....
it really bugs me that fcpx can't read any files from my sonys (without a workaround) or my red scarlet....
premier can...no problem....i really don't think that this is sonys or red fault....
i never worked on a "professional" (fcp7, avid,...) environment....so i don't know what i am supposed to like or not....fcpx is great from what i can tell....and i just don't get why this is such a problem....
imagine someone would ask you to work in aperture or photoshop on a jpeg and then apply all your work on the actual file? maybe proxies make sense to someone used to how things used to be....but not anymore....
redcine works on the actual file....davinci works on the actual file.....premier works on the actual file...why not fcpx? i understand that red raw really isn't a big deal.....but fcpx does not support AVCH antively right now....i have to go through clipwrap to get the files in fcpx.....

MacPro and Editing Red Camera footage in FCP

Hi, I'm looking to but a Mac Pro, but am not sure the most economical spec required to edit 4K fotage from the Red, Rendering etc. I don't want frustration. I'm looking at 8-Core,4.64GHz, 16G RAM, but would the 1G video card from Apple the work for this or do I need a Ndivia 1G card? I'm told I need to get the 1G Ndivia...is that so?

1 - Will I be able to edit with both the Panasonic and Sony footage in my timeline??
Yes, but what is your intended timeline format? You might want to transcode the XDCAM HD to DCPRO HD and edit in a DVCPRO HD timeline rather than visa versa, or perhaps transcode both the XDCAM HD and DVCPRO HD sources to your intermediate tiemline format just to make your life easier.
2 - Do I need extra software to play the Sony XD Cam footage??
No, assuming you are running FCP 5.1.2 or later, but if you will need to ingest the footage from XDCAM disc yourself then you'll need Sony's free XDCAM Transfer software to bring it in.
3 - is there something else that could cause a problem??
I guess a freak wave could come out of nowhere ...

Red Camera Light when taking Video

Dear All,
            I know this has been discussed many times but I just want to check whether is there any way or nokia have any intention to solve this issue of having the red indicator light when taking video/picture.
             I do understand is for privacy issue and have no regards in shutting off simulated camera shutter tone when taking video and picture.
             However problems comes in when we try to take video/picture through windows and we see the red reflection light instead, and we are not able to capture our young children without them staring at the red light.
Do advice, im using a nokia 6710 navigator by the way
Regards

well, i got a 6120 classic- video camera is not the best in the world. what i have found- in during the day and just for more colorful photos it is better switch a Sunny mode. but every thing goes wrong with the video.
and during the night it is better not to shooy at all.
some people told me, that the panel of a phone and the transperent part of a camera is not of the best quality.
i even tried several programms for photo's quality development- no use.
the example of on my honda's board in the night- i guess the topic starter is talking about this effect. http://xcuber.com/photo/kiilo89/1/1 - this is an xcuber account- there are 4 photos in that album. except one all photos shooted at night with the light source.
can it be fixed somehow?

RED Camera footage is Jumpy in FCP

Hello!
I am working off of an iMac 2.16 GHz Intel Core Duo, with FCP version 6.0.4 (yes its older but I can't afford the newer version just yet). I downloaded the component from the red website in order to view the footage in quicktime and FCP, but its VERY jumpy and skips frames. I am also sourcing the footage from an external hard drive. Ive searched the internet and these forums for a solution to this but didn't find any helpful links. Does anyone know?

That's not entirely true - the fast RAID part - REDCode is highly compressed, so it isn't that demanding on disk bandwidth, however it is extremely CPU intensive. Which is where the stuttering comes from. Even on an 8 core system, without rendering, the CPU has to DeBayer and downcovert on the fly, 4K material to 1920x1080 - it's bound to skip a few frames now and then...
Patrick

How do I import Red Camera .r3d files?

I downloaded the plug ins from RED, but i dont see where the import bin is located. Red has no documentation on how to use their plug-in that i could find. Any insight would be well appreciated.

Log-and-transfer is, unfortunately, a really good way to get awful looking Red footage right now.
A better bet is to use RedAlert to create Quicktime proxies with your LUT of choice, then run those proxies through Compressor to turn them into ProRes. Treat those as your offline and edit with them. Use Crimson Workflow as your "neg cutter." It takes your Final Cut timeline (as XML) and lets your output only your selects as DPXs, via Redline. You can then grade and finish as you would any project shot on 35.

RED Camera

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