RED Footage has strange banding with H.264 export

Exporting RED footage to H.264 (just as review files) from Media Encoder CC 2014 and it has some strange horizontal banding going on. Never happened with CC. Anyone know what this is??

Would you be able to post an image of that issue here on the forum message? that help us better understand the issue you are referring to. Also, what Settings in H264 did you have? Maybe you can post image of your settings as well.
Thanks.

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Help Please: Glitches occurring with H.264 export

Let me premise this post by acknowledging that I have little experience in the dslr video world. I'm trying to change that.
I shot video for two fireworks shows this year as an experiment. I groomed the clips in After Effects (noise reduction, contrast, saturation, sharpness, etc) and then exported the files as H.264 1080p 24fps from After Effects.These files look fine - no glitches. Next, I compiled the whole shebang in Premiere Pro. I can't remember the exact export settings I used in Premiere Pro, but I selected the YouTube HD 1080p 24fps preset and then clicked the check box next to 'Render at Highest Quality' (or something like that).
When the final video was done exporting, I watched the whole thing. Everything looked really great except there were approximately 5 instances where white glitches would appear on the screen for 2-3 seconds (see images below). The first screenshot is the frame before the glitch appears. The second one is the first frame of the glitch. The third one is just before the glitch goes away. These glitches do not show up when I preview the video in premiere pro and they do not exist in the source files. It seems like these glitches occur at the brightest moments in the fireworks show.
What is this a result of? Should I select different export settings? Thank you in advance.

Hi Stephen,
Just wanted to tell, that I have the exact same problem!
Made a thread about it as well, and made a bug report. It is so, so, so frustrating. For me, that is not the only glitches. I have grey backgrounds where it should be black, stuttering sequences and stuff like that.
Everything is smooth and wonderful in edit, but after encoding - in Premiere og AME, it f**ks up.
Right now i'm trying to encoding using software only to see if it fixes the problem.
Have you fixed this?

Strange problem with titles when exporting to Quick Time

I recently finished a project. It includes some simple titles - mostly lower third consisting of 2 lines, left justified. When I export to QT, the centering on the titles mysteriously changes - flipping from left to right. I keep going back to the timeline to double check and even do them over again, but the same thing keeps happening over and over again, often on a different titles. I've also tried copying the timeline to a new project. When I export the files through compressor, a completely different set of titles uncentered themselves. When I go back to the original timeline however, all the settings are correct. This is most aggrivating! I've never had this problem before. Any suggestions appreciated.

No - it's nothing I haven't done before. I'm simply using the Boris Title Crawl with the chalkboard font. Very simple stuff. When I export to a FCP self contained movie, the centering switches from left to right within the shot - so the titles looks animated. When I go back to the original timeline, all the settings are correct. Sometimes if I redo them, the problem corrects itself..but then another title goes off center It makes no sense.

After Effects CC Render Errors with RED footage and ProRes 4444 proxies

Working on an 8 Core, 2008 Mac Pro with 16GB of RAM running Mountain Lion.
I just upgraded to After Effects CC and I'm having a whole bunch of errors ...
-- the 'MooV' file is damaged or unsupported
-- error getting package info for file "..." ( 3 :: 164 )
-- Error (4) reading frame from file "..." ( 86 :: 2 )
I'm trying to make ProRes 4444 proxies from RED files (sometimes as big as 4K), which will eventually end up in a 1920x1080 project. I'll make a 4444 proxy, work on it all day with no problems, then when I try to render (or save a RAM preview) any one of the previous errors will show up.
My projects seemed to work just fine fine in AE CS6, and I've worked with RED footage in AE before with little issue. I've completly restarted my system, re-installed everything, worked off an external drive, worked on my internal (software) RAID, rendered to local and external hard drives, adjusted my multiprocesser render settings (on and off), cleared the cache ... nothing is fixing it.
Does anybody else have any ideas? Or insight. Or anything?!
Thanks for your time,
Eliot

I'm working on a MacbookPro, Early 2013, OS X 10.8.4, and I'm having the same exact error:
However instead of using RED footage, I'm using a 3rd party plugin called Element 3D and Optical Flares from VideoCopilet.net.
I'm not sure if the bug is related, I'm just wondering if anyone else has any idea on how to fix this problem. I have a fresh install of CC so I can't downgrade to CS6.
Another error popped up during multiple trys in export:
In case the old file was actually corrupted, I checked all my backups that worked perfectly fine with CS6 in the past, and I get the same error when I copy them over to my hard drive on my mac.
My current setup is:
Processor: 2.8 GHz Intel Core i7
Memory: 16GB
Graphics: NVIDIA GeForce GT 650M 1024 MB
I really don't want to recreate this entire file from scratch. That would be a lot of hours wasted... any suggestions would be greatly appreciated.

Since Prelude doesn't work with Red footage, how can I add logging info to a file in Premiere Pro

Since Prelude doesn't work with Red footage, how can I add logging info to a file in Premiere Pro CS6?

RED footage has a restriction on metadata. We are looking into what it would take to get full metadata support into our system, but you cannot tag red footage at this time.

Red Footage imports with heavy yellow cast

Good day all,
I am looking to import and work with some Red footage that I shot with a Red camera. I have installed Redcode, and Redcine. Am using CS 4.2.1, and even installed After Effects 9.0.3 to make sure that all drivers and whatnot that come with that are available.
So with all of that, when I import Red footage, it comes up with a sever yellow cast. However, when i look at the same R3D files through redcine, it is fine, needs some tweaking, but fine overall.
What am i missing?

I dont know what to say except what Jim already said to get what you really want... and even then I would look at the new Avid thing and the peripherals it supports ( and color grading etc ) on a mac ( so you can use import and export prores )
videoguys has some good info about the new avid thing ( 6 ? ) and whats supported etc. re: peripherals.
The only good thing about PPro right now IMO is photoshop and after effects and that sort of "suite " handling of stuff. In a perfect world you would have EVERYTHING... more than one platform to work from ( pc mac ) and more than one editing program etc.
redcine x is gonna give you your export ( probably mov animation for your ppro version ? ) and now you're already dealing with stupid color spaces that dont match and so on... so it doesnt matter what you do in redcinex really.
Upgrade to ppro 5.5 and deal with that ... direct from files and bypassing redcine... see how it works. Or find frames to find a white balance that works OK in PPro version you have. A lot of work ...cause you'll have to make cuts probably to fine tune.
Sorry.. is the way it is. FCP handled it better as prores.. but that program has bit the dust lately too... leaving you with this (newest version, not your version ) or avid now or the older version fcp. Part of what you're dealing with is the 32bit and newer 64bit stuff... not to mention a ton of other things.
good luck

Red footage with Final cut pro X

I am intersted in going for Red Scarlet so I want to know how well does editing Red footage work on Macs with FCPX with out the Red Rocket card? I have an iMac i7 but will have to switch to a Mac pro and get a Red Rocket card if it doesn't work well on an iMac.

http://www.fcp.co/final-cut-pro/news/611-two-new-colorspace-transformation-plugi ns-for-final-cut-pro-7-and-fcpx

How to sync audio tracks with RED footage that has no reference audio?

So I shot a short film for my thesis project and the damn crew didn't record reference audio. We shot on a RED camera and had a sound guy with a shotgun mic. So we have crystal clear audio tracks from a separate sound card and tons of RED footage with abosolutely no sound.
Lucky we did use a slate, so I know I have to go one by one and manually sync all the audio with the right video tracks. Though I am unsure how exactly to do it. Once synced, will I have to edit from the timeline? How can I reimport the synced footage into a new project so I can edit from my media bin?

Hi PrimeSequence,
If you are having audio sync issues when playing back video in iTunes on your Windows machine, you may find the troubleshooting steps in the following articles helpful:
Apple Support: Troubleshooting iTunes for Windows Vista or Windows 7 video playback performance issues
http://support.apple.com/kb/ts1718
iTunes and QuickTime for Windows: Audio does not play or plays incorrectly
http://support.apple.com/kb/ts1362
Regards,
- Brenden

RED footage with audio won´t import to timeline anymore?!

Hello,
I cannon import any RED footage to the timeline anymore. I can import it with media browser, view it in viewer and make a new comp with it but there is no way to get a clip from the viewer to the timeline. It works fine with RED footage that has no audio.
I am running 8.2 and this worked fine a week ago...
Any info?
Thanks

So it gets more confusing ...
I cleared all the .xmp files from a folder, and drag and dropped straight from explorer to the timeline, it all imported !
So i start do this for a few different folders, seems to be working...
I then say , well hey ill go back to media browser and try to reimport and organise my file structure the way i like.. all of the sudden it reverts back to audio only, even from win explorer, then i grab 4 clips at once ... it imports them ?
So, i go back to media my project window, grab 3 files, and it now drops them on the timeline.
I won't play like I'm understanding the logic here, one would think spanning clips or somthing but it seems much more random
Though, if in the future anyone has this problem, try draggin more than 1 clip at a time in and see if that gets you going.
ADOBE : Can you please shed some light on this, although i have figured a strange work around, this means i cannot use the source window like a usual workflow and i must actually import everything to the timeline then cut and scrap the rest.
Troy

Need help with compositing DPX red footage and workflow

Hi Guys...sorry to repost this..I've tried in many other forums, but haven;'t gotten a straight answer yet, I'm hoping anyone on this page can give advice...
Recently, I was asked by a friend to help on a low budget project by doing some roto and paint work, and some simple composites in After Effects. The question I have is regarding the specific workflow when it comes to dealing with Red Footage in AE. Currently, the project, which is very small, is getting it’s fine cut done by the editor, and their post supervisor asked how I would like the plates to be delivered for comping…I requested 4k 10 bit DPX files set to Red Gamma/ Red Log Film color space, which I understand to be standard for ingesting.
The question I have is the best workflow setup for this in AE? Because AE has recently upgraded with CC 2014, there are several new plug ins that I am not familiar with regarding importing DPX or Open EXR files, and the precise color space to work in so I can have a “normalized” project to comp in…..basically Log to Lin, and then exporting Lin to Log.
This is what I have gathered, and again, I’m not sure if this is correct, so please let me know your thoughts on the best way to work with this:
Basically I was told to work in sRGB color space in AE in order to work with my VFX comps and elements in the “normalized” sRGB linear colorspace, so go “Log to Lin"
1. Import the red footage as 10 bit DPX sequence into AE (with a RedLog Film color gamma applied)…the project settings should be set at 32 bit depth and the working space set to sRGB
2. Right Click on the DPX footage and select “Interpret Footage” select “Main” and then go to the “Color Management” Tab
3. At the “Assign Profile” Box, select “Universal Camera Film Printing Density”. This should “normalize” the footage in the RGB colorspace of the project, and I should be able to see a Rec709 (sRGB) image instead of flat Log.
For the Rendered Output from AE for the colorist…..
Best to render out two different formats, one in Log space for the colorist, and one in a 1080 QT linear space for approvals from the Director
1. In the AE Render queue, set up two output modules…go to “Output Module Settings” and select “Color Management” tab, then select the “Output Profile”.
2. Set the profile to “Universal Camera Film Printing Density”, and the file format to DPX…or whichever the colorist requests as the file format (png, Tiff, etc)
3. The second module can be set to sRGB in QT for approvals
Does this make sense? Is there a better way? Am I on point? Thanks so much, I really want to have this nailed down before I continue.

Jason talks about merging clips right a the beginning of the video.
http://tv.adobe.com/watch/cs-55-production-premium-feature-tour-/adobe-creative-suite-55-p roduction-premium-feature-tour-overview/

I downloaded CS6 Red Plug-In and added to Package Contents, replaced the current files with the new without backing up, now my RED footage thumbnails and color-correction don't WORK! How do I get my old importerRed file back!!?? HELP!

I downloaded CS6 Red Plug-In and added to Package Contents, replaced the current files with the new without backing up, now my RED footage thumbnails and color-correction don't WORK! How do I get my old importerRed file back!!?? HELP!

Try asking in the Premiere Pro forum seems to be an Adobe Lab for Premiere Pro

Premiere CS6 - keyframed scaling is not working with RED footage when Time Remapping is used

Hello,
My system is: Win7, Premiere CS6 (6.0.5), 12GB RAM, etc...
My project settings: I'm using 1080p RED timeline.
Steps:
Using 4K RED footage with "Scale to frame size" disabled after placing the clip on timeline.
Under effects time remapping is set to 50%.
Motion->Scale is keyframed from 50% to 100% to achieve zoom in effect while preserving image quality.
Clip stays at 50% Scale ignoring the keyframes.
Problem is present during preview and in the exported file. I tried with CUDA enabled and disabled and problem persists.
If I turn off Time Remapping, then the clip responds to scaling keyframes.
Is there any workouround or can this bug be fixed?
Thanks!

Thanks.
This seems to work but I had to apply TR to the nested sequence and scaling to the original clip.
Otherwise scaling operations are messed up.
This situation reminds me of after effects and effects processing order.

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Working with 4K Red-Footage

Hey together,
maybe it is an easy thing, but I don't get it...
I am working with 4K Red Footage into a HD-Sequence.
Is it possible to automatically resize the clips to see them full frame?
Otherwise I have to manually resize every clip in my sequence to 50%.
Thanks!

Select clips in the timeline, right-click and choose 'Scale to Frame Size'.
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RED Footage has strange banding with H.264 export

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