RED footage too dark

I have a project that I have been working on for a few years now that was shot on the RED. I currently use a 8TB dedicated exteranl hard drive to edit off of and have been using this hard drive for about a year and a half with no troubles.
Just this weekend we went back to shoot the last three days on this project and yesterday, before injesting the new footage, I plugged in the hard drive and opened FCP. All my old footage in FCP looks way too dark, like someone has messed with the color settings. The raw R3D files are fine when I opened them in REDCINE-X, it's just the footage in FCP. Nothing with the hard drive or computer has changed. The only difference is that this is a new copy of FCP 7 reinstalled on my computer because the other copy had been deleted. This was the first time that I even opened the software, so all settings are on default.
I have Red Apple Workflow installed from RED's website and I'm not sure what else to try and this point as all of this worked fine when I last opened it. Any help would be appreciated.
Thanks.

In FCP, go to the menu Final Cut Pro > System Settings.
When that opens click on the Playback Control Tab.
Set the Gamma Correction to Approximate.
Click OK.
MtD

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Hello Troy-B
The product you have is a commercial printer. I suggest posting in the HP Business Support forum for a better chance at finding a solution.
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http://h30499.www3.hp.com/t5/Printers-Designjet-Large-Format/bd-p/bsc-414
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RED ONE 4.5K footage is darker when paused

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OS: 10.6.4
Running: Final Cut Pro 7.0.3
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When I import .mov files that are half-res 422 ProRes HQ compressed file of a RED ONE 4.5k Wide original, I find that my footage is darker when paused. When I press play the film lightens a bit while playing until I stop it. I feel like this has something to do with the quicktime Gamma Shift from the new version of Quicktime X. I do not notice this problem when I open the files in quicktime pro 7.6.6. I had Quicktime X, but deleted it because I thought it may have been causing the problem.
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This isn't the gamma shift issue, this is typical of playback on footage that is high res played back on slow drives. This won't show up on an external monitor connected via a capture card.
#2 Blurry Playback
Shane's Stock Answer #2: Blurry/Low Quality playback
ONLY JUDGE THE QUALITY OF YOUR MATERIAL ON AN EXTERNAL BROADCAST MONITOR, OR AT LEAST A TV.
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Shane

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

Captured video-material appears far too dark

hi there!
I have a great problem (being under time-pressure with a project): video-material, taken with a canon HV30, that looks all right on the camera-screen, appears FAR TOO DARK (not usable), after beeing captured. the problem does not seem to be a premiere-problem (I have CS3), since windows movie maker produces the same fault. it is neither a pc-screen-calibration or -regulation-problem, since the same material played onto the same screen by another pc, that displays everthing else perfectly, is also too dark. the answer must be between the cam-corder and the capturing software? does someone have a clue? (the problem seems to be not only mine if you check via google... and the solution seems not to be at hand...)
I'm working with DV-widescreen(16:9)-PAL-material converting it with 16-bit sound and 48 kHz.
following my relevant systems-data... (everything is updated with the most recent drivers...)
thanks very much indeed in advance!
hilmar
System Information
Time of this report: 11/21/2008, 23:54:29
Machine name: PC02
Operating System: Windows XP Professional (5.1, Build 2600) Service Pack 2 (2600.xpsp_sp2_gdr.080814-1233)
Language: German (Regional Setting: German)
System Manufacturer: MAXDATA
System Model: *
BIOS: Default System BIOS
Processor: Intel(R) Core(TM)2 CPU 4400 @ 2.00GHz (2 CPUs)
Memory: 2048MB RAM
Page File: 766MB used, 3172MB available
Windows Dir: C:\WINDOWS
DirectX Version: DirectX 9.0c (4.09.0000.0904)
DX Setup Parameters: Not found
DxDiag Version: 5.03.2600.2180 32bit Unicode
DxDiag Notes
DirectX Files Tab: No problems found.
Display Tab 1: No problems found.
Sound Tab 1: No problems found.
Music Tab: No problems found.
Input Tab: No problems found.
Network Tab: No problems found.
DirectX Debug Levels
Direct3D: 0/4 (n/a)
DirectDraw: 0/4 (retail)
DirectInput: 0/5 (n/a)
DirectMusic: 0/5 (n/a)
DirectPlay: 0/9 (retail)
DirectSound: 0/5 (retail)
DirectShow: 0/6 (retail)
Display Devices
Card name: NVIDIA GeForce 8600 GTS
Manufacturer: NVIDIA
Chip type: GeForce 8600 GTS
DAC type: Integrated RAMDAC
Device Key: Enum\PCI\VEN_10DE&DEV_0400&SUBSYS_040110B0&REV_A1
Display Memory: 256.0 MB
Current Mode: 1280 x 1024 (32 bit) (60Hz)
Monitor: (Standardmonitor)
Monitor Max Res:
Driver Name: nv4_disp.dll
Driver Version: 6.14.0011.7824 (English)
DDI Version: 9 (or higher)
Driver Attributes: Final Retail
Driver Date/Size: 10/7/2008 13:33:00, 6058112 bytes
WHQL Logo'd: Yes
WHQL Date Stamp: n/a
VDD: Nicht zutreffend
Mini VDD: nv4_mini.sys
Mini VDD Date: 10/7/2008 13:33:00, 6133856 bytes
Device Identifier: {D7B71E3E-4740-11CF-906D-0A2400C2CB35}
Vendor ID: 0x10DE
Device ID: 0x0400
SubSys ID: 0x040110B0
Revision ID: 0x00A1
Revision ID: 0x00A1
Video Accel: ModeMPEG2_C ModeMPEG2_D ModeWMV9_B ModeWMV9_A
Deinterlace Caps: {6CB69578-7617-4637-91E5-1C02DB810285}: Format(In/Out)=(YUY2,YUY2) Frames(Prev/Fwd/Back)=(0,0,0) Caps=VideoProcess_YUV2RGB VideoProcess_StretchX VideoProcess_StretchY DeinterlaceTech_PixelAdaptive
{335AA36E-7884-43A4-9C91-7F87FAF3E37E}: Format(In/Out)=(YUY2,YUY2) Frames(Prev/Fwd/Back)=(0,0,0) Caps=VideoProcess_YUV2RGB VideoProcess_StretchX VideoProcess_StretchY DeinterlaceTech_BOBVerticalStretch
{6CB69578-7617-4637-91E5-1C02DB810285}: Format(In/Out)=(UYVY,YUY2) Frames(Prev/Fwd/Back)=(0,0,0) Caps=VideoProcess_YUV2RGB VideoProcess_StretchX VideoProcess_StretchY DeinterlaceTech_PixelAdaptive
{335AA36E-7884-43A4-9C91-7F87FAF3E37E}: F

thanks,
dear craig,
for your thoughts and tips!
I will do that just for curiosity. but then I would have to know how the waveform-scopes should ideally look like? where can I find model-scopes? (and, what's more, the camera "gave up its spirit", as we say in german: can't be switched on any more - brand new... so I'll have to get it fixed...)
but: it seems to me, that your path-finding leads in the wrong direction... see: the camera records pictures digitally on a tape. from the tape it is able to read the data again out onto a screen - and fine! now: you should be able to reproduce that outside the camera - and not blame it somehow...
others seem to have the same problem with different cameras and different systems-cominations (operating system, graphic cards...). so it can't be just my camera. the problem is not so easy...
the guy here - http://forum.videohelp.com/topic281706.html - seems to aim in the right direction (imho): he touches the point of the colour-spaces used! he says inside the camcorder IRE 0.0 / 16-235 color space is used. right? well: outside the cam on a computer-screen RGB or sRGB is used, right? so some transformation has to happen - or may be, it is not done - with the bad result, we have...
now the chap there speaks about the possibly wrong codecs. a codec however has to do with compression/decompression. but - they say - the capturing via firewire is just the unaltered transmission of data, and .avi (the resulting format) is compression-free! so the problem is not a codec-problem. but how's the software called that changes the color-spaces or should change them???
what astonished me very much is to see that, when I change the screen-settings for color/luminance with my nvidia-graphics-card, then everything on the screen changes exept! the to video-images in the two screens (source, program) in premiere... so premiere seems to use its own screen-controle here!
and why actually can't I choose somewhere which the output-conditions for and after the capturing shall be, e.g. the clip-format (.avi, .mov etc.) and - may be! - the color-space! I can just say "DV 25i PAL max. bit-depth" and, under device(=cam)-controle, brand and type of device (and again PAL). now I can choose "canon" but not "HV30" (not contained in the list) - just "standard" instead. but that raises the question: what colour-space are the various cameras using and sending??
now if I check the supported camera-brands and -types online on the adobe-website (http://www.adobe.com/products/premiere/dvhdwrdb.html) I can't find canon's HV30 (just the semi-pro-models, for which "conditional support" is promised... but problems seem to lay elsewhere).
on the website, where you can check the compatibility of your cam with premiere, adobe boasts its "Preconfigured solutions
Certified Adobe OpenHD configurations (that) help ensure compatibility between hardware and software components." if you click on the linked text some general boasting and buy exhortations about the "creative suite" come up - no precise information...
should this well known and ill suffered compatibility problem not be handled more clearly and competently?
please help me finding the solution, which is: to interprete the recorded data on the tape, that get transferred via capturing, like the camera does!
thanks a lot indeed!
hilmar
ps: it is interesting to check http://en.wikipedia.org/wiki/Color_space, where it says: "YIQ was formerly used in NTSC (North America, Japan and elsewhere) television broadcasts for historical reasons. This system stores a luminance value with two chrominance values, corresponding approximately to the amounts of blue and red in the color. It is similar to the YUV scheme used in most video capture systems[2] and in PAL (Australia, Europe, except France, which uses SECAM) television, except that the YIQ color space is rotated 33° with respect to the YUV color space. ...
" you see: two different color spaces in TV and CAPTURE SYSTEMS! is premiere not a capture system?? and what do the graphics-devices underway between the camera and premiere??

Canon 1D MkIV images too dark

Hi there
Having a problem here. The RAW images from my Canon 1D Mark IV come in a stop too dark!
When I open them, they lookfine; a second later they switch to a too-dark version. I am using Camera Standard, and no other adjustments.
It's not just visual: the histogram of the opened file is shifter a stop to the left compared to the same phoito's histogram on the camera.
Any ideas? This is a major issue for me since I rely on both the 1D MkIV and Lightroom to make a living...
Many thanks
Michael
www.michaelwillems.ca

Hi M, the question is simple, but the answer is complex. I'll provide an example to try to illustrate. The attached image is a downsampled version of a JPEG from the 1D Mark IV. It's a test picture of a color chart. I've drawn a red circle around the 2nd gray patch in the 4th row. When I take a picture with the 1D Mark IV zoomed into this patch at this exposure, I get a histogram all the way to the right. And indeed, when I open the file in any image editor (e.g., Photoshop, or DPP), and use a color picker / eyedropper to sample the values, the average value of that patch is (255,255,255). So this is like in your example when you say you look at the histogram (e.g., in DPP or on the camera LCD) and it's all the way to the right. In other words, the histogram effectively says this patch is clipped to the max value.
However, if we look at the average raw values in this example for that patch, they are actually (on an 8-bit scale) about (72, 209, 187). In other words, the actual camera-recorded raw values are still pretty far away from clipping to 255. (I should also mention that the camera-recorded raw values aren't white-balanced, which is why the green value is much higher than the red & blue values, above.)
So you can see there is a discrepancy between the camera-produced JPEG and the actual raw values. In this example, the camera histogram and JPEG values indicate a clipped patch at (255,255,255). If you are going by that histogram, then you would conclude reasonably that this patch is overexposed and clipped -- when actually it is not.
More generally, there are always discrepancies / differences between camera-recorded raw values and the histogram shown on the back of the camera (as well as the JPEGs rendered by the camera). This isn't error. This is preference. Cameras and software apply "preset" exposure and tone curve processing (and possibly sharpening, noise reduction, etc.), and the histograms you see on the back of the camera are based on those presets (not the actual raw data). This is why your histogram on the camera will change depending on your in-camera settings of white balance, tone curve, contrast, etc.
There is nothing wrong with the 1D Mark IV. Many Canon DSLRs currently leave a lot of highlight headroom, i.e., when metering they will be conservative on the highlight side, and expose a little less. As I recall (don't have my full notes in front of me), the 1D IV spot meters about 3.5 stops below the actual clipping point. In other words, if I had spot-metered that gray patch in the attached example, and started with the meter needle in the middle, I could then increase the exposure by about 3.5 stops before I actually clip that patch. That's quite a lot.
To summarize: you have to be careful when interpreting camera histograms. In many cases, it is easy to interpret that something is clipped when in fact it is not. If you see a histogram that appears bunched up to the right, the tendency is to decrease the exposure, and therefore make the histogram move to the left (so you aren't overexposing). In reality it is possible the original exposure was fine (without overexposure), and all that's happened is that now the image is even more underexposed.

IMovie to iDVD--Video too dark, sound too loud--Help!

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when burned to the DVD-R the video was too dark
They is a VERY slight darkening during the MPG-2 compression process (see my pages Digital Video Color Bars Test at http://homepage.mac.com/profpixel/color_bars/colorbars.htm and iMovie HD and iDVD 5 Gray Patch Test at http://homepage.mac.com/profpixel/gray_patches/graypatches.htm )
I suspect what you are seening is a major difference in brightness/contrast between your computer monitior and your TV set (and in fact you admit this: "When I play the finished DVD on my iMac, there are no unusual problems with the video or audio. It looks and sounds like it did when played from the digital camcirder. But when played on both of my standalone DVD players + TVs, the video is too dark and the audio is much too loud.") so you aren't seeing an iDVD problem.

Exported black/white pictures are too dark

Hi,
My exported black and white pictures are too dark. I checked the pictures and the exif info contains information about the color profile RGB and sRGB (see below), but still the browsers (firefox and safari) ignore this and display the pictures way to dark. Is there a way to fix this? firefox has color management enabled and safari probably too. As for firefox: there are probably users that do not have color management enabled and it should work for them as well.
Could the problems be due to the reduced 8bit color depth of jpeg?
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Thanks!
Color Space Data
: RGB
Profile Connection Space
: XYZ
Profile Date Time
: 1998:02:09 06:49:00
Profile File Signature
: acsp
Primary Platform
: Microsoft Corporation
CMM Flags
: Not Embedded, Independent
Device Manufacturer
: IEC
Device Model
: sRGB
Device Attributes
: Reflective, Glossy, Positive, Color
Rendering Intent
: Perceptual
Connection Space Illuminant
: 0.9642 1 0.82491
Profile Creator
: HP
Profile ID
: 0
Profile Copyright
: Copyright (c) 1998 Hewlett-Packard Company
Profile Description
: sRGB IEC61966-2.1
Media White Point
: 0.95045 1 1.08905
Media Black Point
: 0 0 0
Red Matrix Column
: 0.43607 0.22249 0.01392
Green Matrix Column
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Blue Matrix Column
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Device Mfg Desc
: IEC http://www.iec.ch
Device Model Desc
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Viewing Cond Desc
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Thanks a lot for helping me to track this down. Looking at EXIF information with EXIF tool I get:
Profile CMM Type
: Lino
Profile Version
: 2.1.0
Profile Class
: Display Device Profile
Color Space Data
: RGB
Profile Connection Space
: XYZ
Profile Date Time
: 1998:02:09 06:49:00
Profile File Signature
: acsp
Primary Platform
: Microsoft Corporation
CMM Flags
: Not Embedded, Independent
Device Manufacturer
: IEC
Device Model
: sRGB
Device Attributes
: Reflective, Glossy, Positive, Color
Rendering Intent
: Perceptual
Connection Space Illuminant
: 0.9642 1 0.82491
Profile Creator
: HP
Profile ID
: 0
Profile Copyright
: Copyright (c) 1998 Hewlett-Packard Company
Profile Description
: sRGB IEC61966-2.1
Media White Point
: 0.95045 1 1.08905
Media Black Point
: 0 0 0
Red Matrix Column
: 0.43607 0.22249 0.01392
Green Matrix Column
: 0.38515 0.71687 0.09708
Blue Matrix Column
: 0.14307 0.06061 0.7141
Device Mfg Desc
: IEC http://www.iec.ch
Device Model Desc
: IEC 61966-2.1 Default RGB colour space - sRGB
Viewing Cond Desc
: Reference Viewing Condition in IEC61966-2.1
Viewing Cond Illuminant
: 19.6445 20.3718 16.8089
Viewing Cond Surround
: 3.92889 4.07439 3.36179
Viewing Cond Illuminant Type
: D50
Luminance
: 76.03647 80 87.12462
Measurement Observer
: CIE 1931
Measurement Backing
: 0 0 0
Measurement Geometry
: Unknown (0)
Measurement Flare
: 0.999%
Measurement Illuminant
: D65
Technology
: Cathode Ray Tube Display
Red Tone Reproduction Curve
: (Binary data 2060 bytes, use -b option to extract)
Green Tone Reproduction Curve   : (Binary data 2060 bytes, use -b option to extract)
Blue Tone Reproduction Curve
: (Binary data 2060 bytes, use -b option to extract)
XMP Toolkit
: Image::ExifTool 9.53
Doesn't this include the profile? I use Metadata wrangler and creative commons and morgify as plugins, but these shouldn't interfere with the profile, should they? I also experimented with disabling the metadata wrangler (by clicking disable), but this did not have any effect.
Thanks a lot!
Stefan

Captures are too dark

My Sony DCR-TRV460 camcorder bit the dust a few weeks ago, so I bought a used DCR-TRV103 to continue capturing from the tapes I recorded with the 460. The problem is, the captures are much darker when capturing them using the 103 than they were when capturing from the 460.
The video looks fine on the camcorder's LCD screen, but is way too dark when viewed in FCE, and when clips are placed on the timeline next to clips that were captured from the 460, the difference in brightness is striking.
Is there any way to compensate for this during the capture? There is no brightness or levels control during the capture process that I can find. Or am I stuck with manually adjusting and rendering these clips to match the other clips in the project?
Thanks for your help

Thanks. So far, I have not even shot any footage with the new camera. I am using it to capture from tapes made with the old camera. With the old camera (DCR-TRV460) captured clips look almost exactly the same in FCE as they do on the camera's LCD. With the new camera (DCR-TRV103) captured clips look a lot darker in FCE than they do on the camera's LCD.
I just wish the Viewer and Canvas windows could be calibrated, so that they look closer to the final output medium (for me, a DVD played on a TV set). With laptops and LCD Macs, it's probably not possible to get it to look on screen like it will look on a TV, but I am still using a CRT Mac. The Viewer and Canvas windows are generally too dark compared to what the video will look like on a TV. It's hard for me to use filters, or do brightness or contrast or color correction, when what I see on screen is not an accurate prediction of what it will look like on a TV.

Hello, RAW snaps too dark in Lightroom.

Hello,
I made a snap with D-Lichting automatic in JPG and in RAW format at the same time.
When I look to the snaps in Photoshop I remark a difference in histogram. Both snaps have the same wave length, not the same frequencies. The red and blue colors’ are a higher in RAW; the green colour is higher in JPG!
Both pictures look to be the same, lighting seems to be ok.
The same RAW picture opened in Lightroom is dark, under-exposed you should think.
Could I get some advice to get solved this problem?
Many thanks in advance
Marianne

Dear Rob,
ADL is off and I made again some snaps. RAW ( NEF) and JPEG are taken at the SAME time.
When I have a look tot snaps in Lightroom they look ok. When I have imported them in Lightroom they are still too dark = over exposed. What could be happen?
vriendelijke groet!
Marianne
Van: Rob Cole
Verzonden: woensdag 29 oktober 2014 13:41
Aan: Marianne Matthys
Onderwerp: Hello, RAW snaps too dark in Lightroom.
Hello, RAW snaps too dark in Lightroom.
created by Rob Cole <https://forums.adobe.com/people/areohbee> in Photoshop Lightroom - View the full discussion <https://forums.adobe.com/message/6878930#6878930>

Printing from photoshop, colors seem too dark

We are printing photos and/or scans of my wife's paintings as well as some of her photography. Using a canon ip4820 and a Red river satin paper (or canvas paper) and the corresponding recommendation from Red river including their icc profile for the specific paper. While the color profile helped slightly, we still cna't seem to get true reproduction. I realize monitor calibration and other things will effect the way we see the photo, but we've viewed the photos on various screens and on the canon t2i lcd screen as well as comparing to the original painting and the prints always look too dark and in some cases the yellows come out too orange. This is all with new canon ink and a new printer. We always have to brighten the images but not being photoshop pros we are not sure if that is the correct thing to do or if there is some other correction or maybe its just that the ip4820 isn't cable of reproduction to that level.
Are there some settings we are missing?
thanks for any ideas.

3 suggestions:
Be sure that you have the latest drivers for your printer
Have the printer manage colors, not Elements. Certainly not both!
Reduce the brightness settings on your monitor, esp. while enhancing with PSE

Still too dark after color corrector 3-way

I've checked other tips on video that's too dark (i.e. quicktime HSL balance) but am still having a problem with a clip. It's a series of clips in a skating rink and the brightness of the flourescent light is keeping me from bringing up the remainder of the dark floor, skater, etc. to a point where it's similar to the other clips of the skater during other footage taken. I've first lowered the blacks and on the whites have raised it to the point just before the exclamation mark warning. But it's still just not matching the other clips I've been able to brighten from the same roller rink. I'm fairly new at this. Any suggestions as to what I can do? Thanks

My apologies and thank you for assisting. I see you're from Chicago and I'm from California. I imagine you gotta hit the sack. I'm 56 years old and the learning curve is just a tad too big I guess. Based on some notes I found on how to save a clip from FC to be able to send, I attempted to save 4 examples for you. Well all four were the same clip. I guess I could at least send that one but it's the best of the four so it would be hard for you to see a comparison. I'm not seeking better fleshtones but rather a brighter global picture. As I mentioned in my original posting the bright flourescent light are the killer. I sure appreciate help here. Trying to help someone go to Australia next year for national skating competition and wanting to produce a video for donations. Just over my head but learning. How could I send you even the one clip I was able to make a tiff of? I don't see attachment options here. Sorry again for my ignorance on things like this. Trying...

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

Webcam too dark

I have a Logitech webcam that works with Skype but the picture is way too dark to be useful. Suggestions?

Hi!
I have the same problem with module gspca_main and gspca_spca561.
Seems that the problem is in these new kernel module that are different from the previous kernels (now i have 2.6.28-ARCH).
In the previous ones there was the possibility to set gamma blue red and green parameters directly from the module.
Now seems that there is no parameters available
[root@Geppo ~]# modinfo gspca_main
filename: /lib/modules/2.6.28-ARCH/kernel/drivers/media/video/gspca/gspca_main.ko
license: GPL
description: GSPCA USB Camera Driver
author: Jean-Francois Moine <http://moinejf.free.fr>
depends: usbcore,videodev,compat_ioctl32
vermagic: 2.6.28-ARCH SMP preempt mod_unload
parm: debug:Debug (bit) 0x01:error 0x02:probe 0x04:config 0x08:stream 0x10:frame 0x20:packet 0x40:USBin 0x80:USBout 0x0100: v4l2 (int)
[root@Geppo ~]# modinfo gspca_spca561
filename: /lib/modules/2.6.28-ARCH/kernel/drivers/media/video/gspca/gspca_spca561.ko
license: GPL
description: GSPCA/SPCA561 USB Camera Driver
author: Michel Xhaard <[email protected]>
alias: usb:vABCDpCDEEd*dc*dsc*dp*ic*isc*ip*
alias: usb:v10FDp7E50d*dc*dsc*dp*ic*isc*ip*
alias: usb:v060BpA001d*dc*dsc*dp*ic*isc*ip*
alias: usb:v04FCp0561d*dc*dsc*dp*ic*isc*ip*
alias: usb:v046Dp092Fd*dc*dsc*dp*ic*isc*ip*
alias: usb:v046Dp092Ed*dc*dsc*dp*ic*isc*ip*
alias: usb:v046Dp092Dd*dc*dsc*dp*ic*isc*ip*
alias: usb:v046Dp092Cd*dc*dsc*dp*ic*isc*ip*
alias: usb:v046Dp092Bd*dc*dsc*dp*ic*isc*ip*
alias: usb:v046Dp092Ad*dc*dsc*dp*ic*isc*ip*
alias: usb:v046Dp0929d*dc*dsc*dp*ic*isc*ip*
alias: usb:v046Dp0928d*dc*dsc*dp*ic*isc*ip*
alias: usb:v0458p7004d*dc*dsc*dp*ic*isc*ip*
alias: usb:v041Ep403Bd*dc*dsc*dp*ic*isc*ip*
alias: usb:v041Ep401Ad*dc*dsc*dp*ic*isc*ip*
depends: gspca_main,usbcore
vermagic: 2.6.28-ARCH SMP preempt mod_unload
An interesting forum can be this http://ubuntuforums.org/showthread.php?p=5988774
A possible solution could be come back to a previous kernel , because recompiling the same seems it is unuseful.
Anyone can suggest something else???

RED footage too dark

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