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...

Similar Messages

  • 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/

  • 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 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

  • Service Product Upgrade/Downgrade functionality

    Just wanted to ask a question about the eCommerce functionality on BC. My client has a service/support product that they sell to Members. They have various levels of this product eg. Pro, Regular & Basic.
    One of the features of this service is that Members can upgrade/downgrade between these products as they need to. What I need to know is whether BC can handle that type of request, here are a couple of examples:
    Customer on Pro level, wants to downgrade to Basic for 3 months, therefore they should get a discount for that perdiod of time. How would that work?
    Customer on Regular level, needs to upgrade to Pro but has already paid for a certain amount of time at Regular, so therefore thay should only pay the balance between the Regular subscription and the Pro subscription for the time left in their current subscription and after that they would pay the full Pro subscription fee?
    I hope the above makes sense, I’m a designer more that a eCommerce guru..
    Does anyone know whether this functionality is easy to achieve in BC?
    or whether I should be looking elsewhere...
    thanks, Kieran.

    => A service product "INVESTIGATION" has to be created.

  • UPGRADING,DOWNGRADING,APPLYING PATCH 적용시 _SYSTEM_TRIG_ENABLED=FALSE

    제품 : ORACLE SERVER
    작성날짜 : 2004-03-09
    UPGRADING,DOWNGRADING,APPLYING PATCH 적용시 SYSTEMTRIG_ENABLED=FALSE
    =======================================================================
    PURPOSE
    Upgrading / Downgrading / Installing / Deinstalling 시 중요한 순서로
    SYSTEMTRIG_ENABLED PARAMETER 설명
    EXPLAIN
    Upgrading / Downgrading / Installing / Deinstalling 시 중요한 절차
    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
    Versions & Platforms 영향
    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
    o 이 정보는 모든 플랫폼의 Oracle 8i (or 9i)에서 적용된다.
    o Oracle8i or 9i release 로 upgraded / migrated 하는 경우가 아니라면 Oracle 8.0 , Oracle 7 의 경우에는 적용할 필요가 없다..
    Description
    ~~~~~~~~~~~
    o Parch set install 시
    o Upgrading 시
    o Downgrading 시
    o 운영중에 catalog or catproc 실행
    o Java (initjvm) Installing 시
    o SYS owner 의 object 의 수정이 일어나는 script를 실행시
    위의 경우 hidden init.ora parameter SYSTEMTRIG_ENABLED를 FALSE로 setting 해야한다.
    Eg:Oracle8i에서는 init.ora file에 다음의 line을 추가후 db를 stop, start 하면 됩니다.
    # Disable system triggers for the duration of the maintenance
    # operation.
    SYSTEMTRIG_ENABLED=FALSE
    IMPORTANT: 이 parameter는 위의 작업이 끝난후 true 로 다시 설정시에는 comment처리 하세요.(default 가 true 입니다.)
    Oracle9i
    ~~~~~~~~
    Oracle9i 에서는 필요시 SYSTEMTRIG_ENABLED를 false로 dynamically setting 이 가능하다.
    ALTER SYSTEM SET "_system_trig_enabled"=FALSE;
    ALTER SYSTEM SET "_system_trig_enabled"=TRUE;
    SPFILE이 아닌 경우에는 oracle 8i와 동일하게 setting 하면 된다.
    Oracle8.0 / Oracle7
    ~~~~~~~~~~~~~~~~~~~
    SYSTEMTRIG_ENABLED parameter 는 oracle 8.0 이전 version에는 존재하지 않는다.
    Explanation
    ~~~~~~~~~~~
    SYSTEMTRIG_ENABLED 란 무엇인가 ?
    System trigger는 Oracle 8.1의 new feature다.
    SYSTEMTRIG_ENABLED를 TRUE (the default)로 setting 하면 system triggers가 enable 된다.
    이값이 FALSE라면 system trigger 를 stop 한다
    False 로 setting 하는 이유?
    trigger에 의존하는 object가 invalid나 drop될수있는 dictionary 작업의 script가 실행되는 경우 해당
    trigger는 fail이되고 이 script는 정상적으로 실행이 안되게 된다.
    다음의 몇몇 예를 보자.
    Example Problem Scenarios
    ~~~~~~~~~~~~~~~~~~~~~~~~~
    Dictionary maintenance operations를 수행중에 system triggers들이 있다면 많은 문제들이 있을수 있다.
    가장 일반적인 경우를 다음에 설명 했다.
    After running "rmjvm"
    ~~~~~~~~~~~~~~~~~~~~~
    만일 JIS install 되어 있고 "rmjvm" 를 사용하여 java를 deinstall 하고
    후속적인 조치로 "DROP a ROLE "을 시도할때 error 가 날것이다.
    이것은 <Bug:1751857> 와 관련있으며 "rmjvm" 은 모든 java와 관련한 objects drop을 할수 없다.
    eg:
    SVRMGR> drop role a;
    drop role a
    ORA-00604: error occurred at recursive SQL level 1
    ORA-29540: class oracle/aurora/mts/http/security/RdbmsHttpPolicy does nt
    ORA-06512: at "SYS.HTTP_SECURITY_CASCADE", line 0
    ORA-06512: at line 3
    Running CATALOG / CATPROC
    ~~~~~~~~~~~~~~~~~~~~~~~~~
    만일 JIS install 되어 있고 CATALOG와 CATPROC 를 다시 실행하려고 하면 trigger 가 INVALID 된다.
    이는 많은 DROP SYNONYM 에서 error 를 일으킬 것이고 <Bug:1733297>에 설명이 되어 있다.
    eg:
    SVRMGR> drop public synonym dba_segments;
    ORA-4098: trigger 'SYS.JIS$ROLE_TRIGGER$' is invalid and failed re-valin
    8.0에서 upgrading 이나 7.3 에서 migrating 할때.....
    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
    만일 SYSTEMTRIG_ENABLED이 FALSE로 setting 되어 있지 않으면
    package STANDARD에서 ORA-604 , ORA-6553 , PLS-213 를 일으키는 <Bug:1362374>를 만나게 될것이다.
    이는 Oracle8i/9i에서 db open시에 error 를 일으킨다.
    만일 ODMA (Database Migration Assistant)를 사용하여 Oracle7 or 8.0 로 부터 upgrade 한다면
    SYSTEMTRIG_ENABLED를 setting 하는 것은 불가능 하다.
    ODMA를 사용하여 성공적으로 upgrade / migration 가 가능한지 확인하고 그렇지 않다면 parameter 를 false 로 setting 후에
    수동으로 upgrade / migration을 하도록 한다.
    Oracle9i로 Upgrading
    ~~~~~~~~~~~~~~
    SYSTEMTRIG_ENABLED를 FALSE로 setting 하지 않으면 Oracle9i에서 db open시
    ORA-600 [16201] errors를 만날수 있다 <Bug:1747065>
    Reference Documents
    <Note:149948.1> <Note:68636.1>

    Helios,
    Looks like I should not apply this patch, it assume the version of 11.2.0.2, I am on 11.2.0.1.
    What took me off a little was this statement me in the BUG:12317756 - DBCONSOLE PERFORMANCE PAGE NO LONGER DISPLAYS ON LINUX
    "it used to work in previous versions including 11.2.0.1"
    and this is not true for me - I have 11.2.0.1. and it is not working - the graph can not be displayed.
    So I guess I am back to the original question I was asking about in my other post. Let me see if other 2 Notes you provided will take me to any other patch
    Thank you
    Anatoliy

  • Transcoding Red footage to proxy in FCPX

    I'm transcoding a ton of red footage into proxy on an external hard drive.  I left it on overnight and now maybe about 50 percent complete.  Question:  If I cancel the transcode process and disconnect the external hard drive, will FCPX remember what clips are left to be transcoded when I re-connect the external hard drive and begin the transcode to proxy again?  Or is it going to start all over?

    Not sure it will "Remember" to transcode those NOT being transcoded. Afterall, that could be BAD... Becuase YOU chose to cancel. This is just my logic talking ;-) -- But imagine you would hit "Cancel" transcode and FCPx would keep commencing the transcoding ;-) I would not like that...
    However, what I do know is that you can manually transcode the "Missing" proxies..
    Here is how I do it...
    Say I have transcoded half my arsenal of originals and I for some reason cancel.
    1) In preferences switch to proxy
    FCPx will now display about half the files (ones that did not receive transcode) in red icons as missing proxy
    2) Select all the missing proxies and give them a temp. keyword of i.e. "Missing" (Reason for this is that when you switch back to High Quality Media - sometimes FPCx will loose the event library selection - and then it is diff. to see which files have missing proxies and which not)
    3) Switch to High Quality Media in preferences
    4) Click the Kerword "Missing" you just created
    5) Hit command + a and then transcode media
    Above workflow is for a large event library... Say past 400 clips... Depending on "today's Mood-swing) of FCPx selecting 400 clips could take 10 minutes.
    If your lib. is smaller you can just (when you re-connect) the drive and event lib.... select all files and then hit transcode media... FCPx will only transcode those clips that has not proxy...

  • 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 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 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.

  • 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

  • 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

  • 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.

  • Red Hat Linux Upgrade - 2.4 to 4

    Hello all,
    In our environment SAP is running with 4.7E with oracle database and we are planning to do a hardware migration and  Red Hat linux upgrade from 2.4 to 4
    So the plan is such a way like that
    1. Taking backup from the live production system.
    2. Installing 4 red hat linux in the target machine and installing SAP as well.
    3. Restore the database and bringing up the system.
    We are not following the method of Export / Import due to consideration of downtime.
    I have been working in windows platform and have performed migrations and database migration but I am not aware of linux environment. What are the preparation do i need to do interms of linux upgrade / Migration.
    Kindly help me out
    Regards
    Vijay

    > 1. Taking backup from the live production system.
    > 2. Installing 4 red hat linux in the target machine and installing SAP as well.
    > 3. Restore the database and bringing up the system.
    Yes - that's the way to go.
    Simply follow the system copy guides.
    Markus

  • 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

Maybe you are looking for