RED footage playback / paused resolution

Hey there,
Here's the situation: I have my playback and paused resolution set at 1/16 in order to work comfortably with RED footage. It works perfectly.
However, when I drag a clip in the timeline, and go near another clip, the PROGRAM window converts into a 2-screened edit-type display. And in this mode, the resolution pumps up to FULL res, making the program slow, and hampering all that nice flow that low resolution affords.
Is this a bug, or have I forgotten to click something somewhere?
Thanks!

I'm not seeing that here. With all the media I have, it stays at the resolution where I put it. I do not have any RED media for testing, though.

Similar Messages

Sequence settings for RED footage

Hi to all,
I'm editing with RED footage, using the low res redcode 512x288 clips.
I'm trying to set my sequence settings to be able to edit without having to render for preview.
But i can't seem to find the REDCODE compressor in my compressor list.
Any suggestion on how i can set this, without having to convert all my clips to prores.
thanks in advance.
tee/

Well you won't get the gray bar above those clips, and you'd find better performance with more machine...
What you're doing there is asking the computer to reference the original R3D files, and then down-convert them to a lower resolution in +real time+. Obviously this is very CPU intensive, and the faster machines do better with it.
Might be best with an iMac to use the log and transfer window and transcode it all to ProRes. I gotta say, it's not as fast and efficient as what you're doing there, but if you can't get smooth enough playback for the edit, it sure might serve you to spend the time in the transcoding.
Still, if that preference in the User Pref's Editing tab is turned on to "Ask" you definitely should be getting the prompt to change the sequence settings to match. Might trash your preferences and give that setting another look see...
Jerry

Playback pauses when the window loses focus. Can I fix that?

When going through footage, I might be multitasking -- talking on chat, looking at to do lists, etc. Whenever I tab away to some other application, playback pauses in Adobe Premiere Elements 13. This is really annoying -- any way to turn that off?

JustinPierce
Your type of situation has been written about before and remains the same up to and including the current version 13.
What you describe is what it is. There is no way to change that behavior. The Premiere Elements playback in progress stops when you
switch to another application. No user turn off switch to prevent this from happening.
ATR

Playback pauses and audio sync issues with live video stream

I'm seeing playback pauses about every three seconds and audio sync issues with our live demo stream when using the OSMF/Strobe player. It happens on both our 2Mbps 720p stream and our 480p 750Kbps stream so it does not seem to be related to higher resolution/bandwidth streams. It also happens if I point directly to a stream asset or if I point to a .f4v with both streams listed for dynamic so it does not seem to be related to dynamic streaming specifically.
The same live streams play back very well without pauses or audio sync issues in the Akamai's dynamic player and even slightly better with JW 5.2.
I have viewed the OSMF/Strobe playback on three different laptops of various age (3 months to 2 years) and two are Windows and one is Linux. I have also tried the various buffering options on the Flash Media Player Setup and Strobe setup and it has not made a noticeable difference.
To see the stream with the Akamai player, go to: http://live.kulabyte.com
To see the stream with the OSMF/Strobe player, go to: http://live.kulabyte.com/osmf
I do not have JW set up for public viewing yet, but the two above show the distinct difference.
We are really hoping to start pointing our customers towards the OSMF player because of the support provided by the community and Adobe, but we have to get the quality of the playback to be acceptable first.
If someone has ideas on debugging I can PM the actual video assets to you.
Thanks,
Tim

Hi Tim,
You need to add this setting:
dynamicStreamBufferTime=8
The actual value can be higher or lower. The best practice is to use a value that is twice the keyframe distance. Anyway, try different values and see which performs the best for your content.
I know that the setup page does not contain this option and it is not documented in the UserGuide. We simply missed it. Sorry.
Also note that the dynamic buffering algorithms are not being used for dynamic streaming content. I tried to explain this here:
https://sourceforge.net/adobe/smp/wiki/Dynamic%20Buffering/
Looking forward to your confirmation that this solved your issue.
-Andrian

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 Question Upgrade/downgrade

Can I downgrade the RED footage to Apple ProRez 1920 x 1080p and finish final edit, and then after having final cut of project, output the final cut as 2k or 4k?

Definitely check out the Apple Workflow discussions at reduser.net
I understand the latest FCS with the latest RED plug-in can edit 2K. You can send your FCP sequence to Color and it will access the highest resolution possible up to 4K and grade with that information, when you send the Color renders back to FCP they will be in a 2K sequence.
Does your client want you to output 2K for color correction elsewhere? If so, don't send a exported QuickTime from FCP, export a XML file and send with the RAW RED files.
Not sure how well this would work on a G5 machine...

Red Footage and Final Cut Server

Aloha gang-
I am still testing FCS in our studio and enjoy many of the features in this product. I love being able to search for footage and pull it into my FCP project with no waiting (using edit-in-place). But I am looking for some advice and knowledge regarding Red Footage.
My scenerio is this:
We render all our red footage to offline files that we will use in the post production process. I want to tag all those files with appropriate metadata so our edit team can search and retrieve files as they need it. But with red there are 7 files (in our workflow) that correspond to the same thing. Basically there is the original R3D file which can not be used in FCP, there are the 4 quicktime proxies that the camera generates and live in the same folder as the R3D, and these are the files I want to get back to after the production is through and archived. There is the offline quicktime we generate to edit with which we need to tag. There is a log and transfer quicktime we can log and transfer all this data to FCS (but it doubles the data size so I am not looking to use this one and edit performance is okay at best), and finally there is the folder that the 4 proxies and original red file live in.
All of these files should be search able by the same metadata. Imagine the shot is of a blue bird. When I type blue bird I would want all of these files to show up (obviously I could limit my search so I only get the version I need for what I am doing i.e. offline, proxie, etc. I have made metadata lookups for this so this is not the challenge.)
The challenge is I only want to log 1 of these files and have the metadata applied to all of them. They all have almost identical names. The offline, R3D, and folder file have the exact same name. The proxies are identical but with _F, _H, _M, and _P behind them. For the catalog process I only want to transcode proxies for the _M (The _F, _H take way too long and the proxies look the same as _M and the _P is too small
I could make them a bundle but that does not help too much as the offline lives in a different place as the footage.
Any ideas would be greatful. My easiest solution is to tag the files twice, once for the production and once for the archive, but this seems like a waste of time that I could have a computer do instead
P.S. anyone successful in getting the metadata out of the red file, I see the red metadata set, and have it in place, but can not get it to show anything no matter which file I upload.
Any ideas, or help would be great
mahalo
scott

Thank you for your replies. I guess my question is not really answered because of the conundrum associated with red footage
But my workflow to get through this will be as follows: (In case anyone is interested)
Set a scan to bring in the offline quicktimes as they are rendered and have someone tag them with meaningful tags to help us search during the production. I will send those to archive when we are done.
After the project is completed and the files are removed from Final Cut Server I will set a scan to import all the _M files (they transcode faster and quality is not an issue since it is making proxies) and tag them as best I can for the long haul (archive) I can either leave the media on the drive or back it up, depending on the immediate use of the files. This works very well if the media is still there as I can just drag the _M into Clipfinder and render the shot I need as I need it.
I am storing these clips in folders labeled CC_LTOXXX (where XXX is the number for the LTO tape which increases by one for each tape I use. When I import them into Final Cut Server from the LTO folder I have a direct line to which LTO tape the file lives on. It's not easy to get the files back (so with files used frequently I will also keep a copy on an external drive I can just plug in) from an LTO, but it is doable.
If anyone has an easy way to pull a list of files from an LTO tape that would be great, and even better if it could be a list Final Cut Server made, or if Final Cut Server could just pull the files. My LTO is a network drive so I would have to access it through an IP address, but if I could do that I would be golden.
Anyway I know this will all evolve and this is just where I am right now, any ideas would be appreciated.
Mahalo
scott

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.

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/

Upgraded to itunes 6.0.2 - now playback pauses randomly again and again

hi,
i've got an emac G4 800 with panther 10.3.9. i got the software update for itunes 6.0.2 and now the playback pauses and then starts again several times during any song. vEry annoying. please any help out there? i've already combed the threads.
damien
eMac Mac OS X (10.3.9)

I have a similar problem. I updated to iTunes 6.0.2 and now it runs very slowly. Like when I try to select an album or a song, the spinning beach ball shows up and it takes a few seconds to select. This is extremely annoying and makes the program almost unusable, especially if I'm creating a playlist on the fly during a party or something...I know this is not an answer, but would like to know if anyone has a problem with iTunes running excruciatingly slow...

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

Red footage and CS5

Interested in a bit of dialogue about Red footage and CS5.
Just quoted a production shooting 35mm film combined with footage from the Red Camera.. (reasons various)
Am I setting my self up for a whole lot of whoop-*** problems with the red stuff?
Anyone with experience of Red and CS5 willing to relate.
Thanx
Craig

Thanx guys.
My tests to date with 4k footage (downloaded) has been successful
(it played fine in my project)
and now...
I am delving into this RED thing a bit more deeply ....
I assume that the new importer as linked to here:
http://blogs.adobe.com/toddkopriva/2010/05/cs5-mysteriumx-red-update.html
is required (a must install) to enhance the CS5 "capabilty" in RED footage management?
Will shoot Red Camera tests this coming week (with audio).
Must tell you... my faithful and regular Camera Assistant is appalled I am considering the RED for one of our shoots. He has had many bad experiences with the hardware!
I have my own trepidations as a D.P ( as well as being the guy who will edit the footage).
Issue is I have clients for whom this is a bit of a "name drop" request for their productions.

Video Playback Pauses when streaming from iTunes to itunes

Hi,
I have a 2011 iMac running OS X Mavericks Server and I use this as my main iTunes library computer. I also have a 2013 (latest model) MacBook Air running Mavericks. My WiFi network comprises of 2x Airport Express's, both the latest models and configured for both 2.4ghz & 5ghz frequencies.
Using Home Sharing, I like to stream video from my iMac's iTunes library to my MacBook Air. The problem is that playback pauses every few minutes. The only way to resume playback is to close the video window and open the video again. This problem occurs regardless of video quality (SD, 720 or 1080) and on both the 2.4Ghz and 5Ghz wifi settings... On the odd occasion this problem doesn't happen at all.
I experienced this problem before upgrading to mavericks so I don't think its mavericks related. And I don't experience this playback issue when streaming to ipad mini, iphone, or apple tv... It only happens when streaming from imac to macbook air...
Please help if you have a solution.

Try:
ffmpeg -i rtsp://localhost:8554/test.sdp -acodec copy -vcodec copy -re -f flv "rtmp://168.187.121.71/livepkgr/mystream&adbe-live-event=liveevent"
I don't strream ffpmeg from my source, but I stream h264 from my source, and this works when transcoding.
Hope this helps!

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.

RED footage record frame rate

I am working with some RED footage in PP CS5.5 and I would like to check with my media what was the recording frame rate at the time of the shoot. I looked into the metadata and cannot find any field with that information. For example I have some slow motion footage shot at different frame rates and I would like to identify precisely what it is.
If I go in REDCINE-X PRO there is a field called "Record Frame Rate" that gives me exactly that information. What is the equivalent in Premiere Pro and where can I find it?
Thank you,
David

No... I checked the Clip Properties window as well with no luck...
Here is the information I get in REDCINE-X PRO: you can see that particular clip was shot at 300 fps
Here is the information I get in PP CS5.5, inside the project window (I looked also into the metada information with no luck so far...):
Again when I play this clip in PP @ 23.976, it plays in slowmo as expected because it was shot at 300 fps. What I would like to get is that information of Recorded Frame Rate in PP.
Thanks,
David

RED footage playback / paused resolution

Similar Messages

Maybe you are looking for