RED .R3D Timecode

Hi,
If I open a RED .R3D in the source monitor, its timecode entry is two frames late. For example, if the absolute timecode of the clip is 19:43:15:16, the source monitor will display 19:43:15:18. It's messing up my EDLs
Anyone know why?
Thanks.

If a file can be read and played in Quicktime, then Final Cut Server will be able to create proxies for it (in most cases).
Quicktime can be extended with 3rd party components to play additional formats. So in the case of r3d you'd need the redcode codec. And for MXF you would need something like MXF4Mac.
Pro Res edit proxies will be created when you check in a FCP project with the original material.

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Workaround for slow performance and poor resolution with RED R3D files in After Effects CC 2014 (13.0)

http://blogs.adobe.com/aftereffects/2014/06/red-r3d-problems-after-effects-cc-2014-13-0.ht ml
The After Effects team are investigating a bug in After Effects CC 2104 (13.0) where RED (.R3D) files are very slow and the image resolution is poor, about 1/8 sampling.
The following workaround has been reported to solve the problems in some cases:
Save the project.
Choose Edit > Purge > All Memory & Disk Cache.
Please post in this thread about whether or not this workaround helped you.

Intentionally cross-linking threads: this issue was first reported in this thread, which has an ongoing discussion:
AE 2014CC RED R3D files support broken - footages looks bad, everything slow.
The thread you are in now is the comment thread for the blog post. Please post in whichever thread makes more sense for you. I am monitoring both.

PLEASE make PS CS6 open RED R3D movie files through Camera Raw 7 as 16 bit/channel files

Hi All,
Why does CS6 Photoshop only open Red R3D movies files as 8 bits per channel ???
This is VERY disappointing , R3D movies should be opened through Camera Raw 7 as 16 bits per channel
Hey Adobe please, Please, PLEASE make this very desirable change
Many thanks
Steve

Hi Chris,
Thanks for the prompt reply. I understand what you are suggesting however in CS6 PS when I open a Red R3D file (on my windows machine)
photoshop opens the file as 8 bit/ch WITHOUT going through ACR, not offering the option of opening it as a 16 bit file in ACR.
I presume PS "thinks" the R3D file is just 8 bit and doesn't "know" to start up Camera Raw 7 to allow opening it as a 16 bit file
No easy fix I'm guessin' ?
Many thanks
All the best
Steve

Since updated to CC 2014.1 - 6k Red .R3D files appear black when paused

I have a project that was started in the previous version of CC and now we've updated to CC 2014.1 (latest version). I noticed that since the update, when there is a Red .R3D file in the source monitor, it will go black after a few seconds (when the full resolution image would have appeared). I'm viewing the quality in 1/16th. When I scrub or play I can see the footage fine. It is only when I pause that the window soon turns black. If the playhead is over a red .r3d file in the sequence, the same thing will happen. Also, I can't play full resolution either - it will remain totally black.
When I turn off Mercury Playback Engine GPU Acceleration and choose Software Only in the project settings, this problem goes away. However I don't prefer to work that way because other things seem significantly slower.
The video card in this machine is the ATI Radeon HD 5770 - EFI Driver Version: 01.00.436
Any ideas? This is on a Mac Pro (Mid 2010) with latest version of Mavericks.

Hi Atkinsgj,
Atkinsgj wrote:
These forums are listed as an official support channel, but they're staffed primarily by volunteers...
Yes, that's the reality. I do try and get as many employees as possible to participate, though.
Atkinsgj wrote:
Can I request better support on the feature request forum?
The feature request forum? Do you mean the Premiere Pro forum? Feel free: http://adobe.ly/feature_request
Atkinsgj wrote:
As my inbox continues to receive notices of other people having issues with this ancient file-format, my concern grows because this kind of issue isn't a new trend.
Your In box grows from other people's issues? Sorry, I'm not understanding. Are you in support or education as well?
"This kind of issue…" refers to what? File based camera formats like AVCHD, etc.? As Neil says, there are lots of things that can go wrong with these kinds of formats. Chief among them is not ingesting them correctly, via the Media Browser not File > Import.
Atkinsgj wrote:
...but that's really disappointing to hear. Adobe is a 32 billion dollar company - who made over 3 billion in gross profit last year, more than the GDP of many small nations...and there is limited support for one of your flagship products...a product that was recently used to make a blockbuster hit (Gone Girl).
I don't believe I know of any one company creating complex software that doesn't need a larger support staff. We do the best we can with what we are given. Of course, I have no control over how many support agents we have on the phones or on chat. I'm lucky now that I have a couple of agents dedicated to the forums, so you should see this situation improving.
Atkinsgj wrote:
If there's a better way to seek a resolution please let us know, we don't want to stretch thin valuable resources or waste time.
Try this: Contact Customer Care
Thanks,
Kevin

DPX output from Red R3Ds - Becomes Very Bright

When I render DPX from Red R3Ds the output appears extremely or harshly bright - as if the gamma suddenly ramps hugely up. How can I correct this?

Just tried this, in fact its hooked up to my other monitor right now and i do still get the red tinge. The picture is perfect apart from this though. Its nice and sharp and clear.
The colour does indeed come on just fine to begin with but once the monitor has done its auto adjust it drops back to the red. I've played with the display settings, different resolutions etc for both displays and still the same.
The thing is, the mac does seem to be sending the correct signal as the monitor is initially correct. Ill try this with a CRT monitor once my battery is charged and if i can find another VGA cable in ill give that a go too.

New to Premiere, from Final Cut. Help editing native RED r3d

I am one of the many new converts to Premiere Pro CS5.5 from Final Cut after many years using the Apple software. I want to dive right in and start editing with Premiere, but I've run into an immediate snag.
First, I have heard endless discussion about Premiere Pro's abillity to edit raw RED footage natively. Just drag in the r3d files and go. Yet, I haven't even been able to get Premiere to get me this far in my editing workflow. I have worked extensively with RED footage, and in the past I was transcoding in Final Cut to a Pro Res (Proxy) and conforming/onlining at the end using log and transfer or RED alert. Naturally, I was excited to be able to drop in native RED files and never have to online at the end. Here's where my problem comes in: I drag in the r3d files from a recent shoot. 4k 23.967 shot on RED. I double click the clip in my project to open it in the source monitor and all I get is black. I can't scrub, I can't playback video or audio to make my cuts; all I get is timecode. HOWEVER, if I drag the r3d file straight to the timeline, I get picture/sound and everything. Of course, this is no way to edit and I can't just be dropping full clips into the sequence and trying to trim from there. Like any editor, I want to be able to double click my clip, scrub through it in the source monitor, and find the particular take I want to use. THEN, I add it to my timeline.
WHY am I not able to see/edit the raw r3d files in my source monitor? Has anyone experienced this problem? Frustrated and unable to start using this highly touted Premiere (which I wholeheartedly want to believe in). Please instruct me so I can get up and running with my RED footage. In the meantime, it's back to Final Cut 7...
I should mention that I am using a Quad-Core Intel Xeon 2.4 GHz Mac Pro with 15GM Ram and an ATI Radeon HD 5770 graphics card. I have heard NVIDIA is the way to go, but we aren't upgrading/changing graphics cards in the immediate future. So for now, this is what I will be using. Hopefully this is not the sole reason I can't playback/see anything in my source monitor with my r3d files.
Thanks
Daniel

Excellent! Changing to the Adobe player solved that problem (although, of course, it presented new problems, all related to Blackmagic card). Also, to answer your question-- yes, the pro res proxy files were working fine in Premiere.
Now I can see and edit my r3d files, which was paramount. However, now I can't get either the source monitor or program monitor to output playback through the blackmagic card to my external monitors (42" LCD and a smaller 17" Sony color correction monitor). I should note that both of these monitors are routed through my blackmagic card so they don't show up as options under the "playback settings" tab in the source/program monitors. Do I need to rerout these monitors differently so that Premiere Pro recognizes them and will utilize them as external monitors? I need them to playback for clients, bosses, etc.
Another note-- If I make my sequence a blackmagic preset, it will output the program monitor but only playback a few frames and then freeze. If I make it a RED cinema preset, it will playback fluidly but won't output to my external monitors.
The freezing, in my assumption, is due to the fact that the only blackmagic editing mode available is uncompressed 10bit, which doesn't playback well (it uses an editing mode of uncompressed 10bit even when I pick JPEG for the sequence preset).
I guess, in summary, my question is-- does blackmagic not integrate well with Premiere Pro CS5.5? Should I re-rout the monitors not using a BNC cable into the blackmagic card, but instead DVI them into the back of the Mac Pro? Thanks again Colin,
Daniel

CS5 R3D Timecode Issues

I am interested to know if anyone has had this issue before, and if so, what they did to resolve it. I have R3D footage shot at 23.976 fps. When I import the clip into CS5 the timecode does not match. (see screenshot below) When I import the clip into CS4 everything lines up perfectly. Is this a bug or do I need to change settings somewhere?
I am running:
Premiere Pro 5.0.2
Windows 7 64bit
R3D footage is Red MX and Red 1 footage

function(){return A.apply(null,[this].concat($A(arguments)))}
function(){return A.apply(null,[this].concat($A(arguments)))}I am running:
Premiere Pro 5.0.2
Windows 7 64bit
R3D footage is Red MX and Red 1 footage
You have not updated to 5.0.3 ? the update is available.
For more Info-
http://blogs.adobe.com/premiereprotraining/2010/12/premiere-pro-cs5-5-0-3-update.html

RED R3D files "unsupported" after project save

Suddenly, yesterday, my R3D files from our RED cam are unusable / unsupported after project file save. Opening and existing project and prior to saving the RED files work fine. Importing RED is also "unsupported" after saving the modified project file. Closed the project to test importing into a blank project, still no dice. Restarted AE and still can't import. Only thing I haven't tried yet is restarting and importing into a blank project.
So the only way I've been able to work with my RED footage is to open the project file that previously had them imported before this issue and not to save. Once I save the unsupported errors show up. None of the RED footage is corrupted.
I'm currently moving one of the clips to a direct attached drive to rule out our NAS. I'll update soon.
I've been using RED in CS6 and CC without problem for many, many months (possibly years, I lose track of time in my cage)
RED footage is from an EPIC Mysterium and in a format we've used many many times
29.97, 5K (5120 x 2700), REDcode 5:1, no HDR, Firmware 3.2.21 (48926)
After Effects 12.2.1.5
Mac 5,1 running 10.8.5
NVIDIA k5000
Synology NAS (slow for RED work but reliable and cheap)

This was a while ago, but I think I went into REDCINE-X Pro at the time and clicked all the "D" buttons to set the metadata back to it's defaults. If that doesn't work, maybe try deleting the RMD file which contains metadata modifications. Also, notice that at the bottom of my post I indicated that the newer version of the software made resolved that problem, so try using newer software to open the media file which, I think, updates the RMD file and allows AE to use the R3D file.

Experiences with RED R3D: in CS5 and in general?

I'll be posting my first spot with footage from a RED One this coming week. I've only played with a few clips, and not tried anything "real" with it yet.
The footage is being shot in 4K 16x9, I believe at 23.976. Final delivery will be 720/30p for broadcast/cablecast. Fortunately, no sync sound to worry about in this one. I'm getting the RED drive full of footage tomorrow afternoon, so I'll have a little bit of time to play with material.
My system seems to be OK with the 4.5K clips I've been testing. I kick it down to 1/4 Playback and 1/2 Paused resolution, and things seems snappy. My system is an i7-930 @ 4GHz, 24GB RAM, GTX 480, 4-drive RAID 5 off mobo that serves as my primary editing drive.
I'm looking for any general advice for dealing with this material in general at the OS level, just in case there are any best practices, and any gotchas as far as CS5 is concerned. I'm trying to determine what the best sequence setting to use would be; do I want to use a matching RED preset, or post at my destination frame size/rate? My usual approach with my own 1080p material (DVCPROHD, primarily) is to edit in a full raster 1080p sequence, and then export directly to 720p for deliver. I'm thinking I'll take the same approach here, working at 4K and exporting to the final, but I'm open to suggestions. Working at a smaller frame size would obviously give me reframing options.
I may do a bit of light AE work on this; nothing too much as I've got flip this pretty quickly. I'm hoping to make this one shine--the producer is terrified of RED (of course, he's the one that usually shoots 35mm and has it telecined to miniDV), and if this goes well I'll have plenty more regular spots to do like this... and I'll get to raise rates!
Thanks in advance to you seasoned REDitors

Hey Colin,
I've worked extensively with R3D in PPSC5 and REDCINE-X.
First note--don't bother with Cine-X... Now that CS5 (as of 5.0.3) supports the new color science in build 30, there's no need to use Cine-X as an intermediary. In my experience it's both very slow and also VERY unstable. If you start doing too much, it crashes. And that's not just my system, word on the street is that Cine-X is unstable both on the PC and the Mac, period.
So, use PPro CS5 for everything you do with R3D.
If you're going to reframe, then yes, go ahead and edit at 720. There are RED presets for down in the lower ranges, too, so I'd use a RED preset at 720p30 in order to stick in the RED presets for editing. It may not make a difference, but I just look at is as best-practice... Either way, stick in a RED preset.
RED works beautifully in PProCS5... I've got a 920 with a three-disk RAID-0 and the GTX285 and I put it at 1/4 and full rez for paused and it works beautifully up to four layers. I've not worked past four layers, but it was still smooth when I hit four.
Note for you with the clip settings dialog for the RED... You can save presets, so go into your first shot from a specific setup, get it the way you like it, and then create a preset for that. Then just select the rest of the clips in the bin from that shot angle and apply that preset. Repeat for different shot setups as needed.
Adobe's done a great job building in really fluid, seamless support for RED, and with the 5.0.3 release, they've got support for the Build 30 color science as well.
Editing R3D has been a great experience for me...

Red r3d 3k fails on CUDA export Media encoder CC

Been having some problems with Red 3k.
Several times recently for some low budget stuff I have shot 3k and put it in a 720P timeline.
All of my 3k material will fail under media encoder CUDA export.....it works under software but a 20 minute CUDA encode is 7 hours with 3k in software encoding
4k 5k all work fine no problems.....just the 3k stuff. And this has been the case over several shoots for months.
It is also the same with 1080p sequences and at any frame rate, and it also fails from PPRO direct export (not queued)
Thanks
Win 8 64 core i7 6core 980 24GB ram, 2x GTX 470 1X GTX 590 SSD's

Yes, AME queue is a problem. I have a 28 minute weekly broadcast for a client that must be encoded in 6 different formats for TV Broadcast, mpeg2 DVD, vimeo, mp3, h.264 for vimeo, etc. If I attempt to encode all 6 in the queue I will have some success and also failure. If I queue several videos that all require mpeg2 (though with each requiring several different specs, i.e., upper field vs. lower field, mpeg2 dvd, mpeg2 HD, etc.) it will complete the task. Yet if I add h.264 to the mix all encodes will fail. I can encode h.264 by itself with no problems. So yes, you are not alone. Not sure what the solution is. In CS6 one could queue all of these formats and walk away. Can Adobe acknowledge these issues and then propose a solution?

Getting an error message while editing RED .r3d footage.

Hi All,
I have been working on a music video that was shot on a RED and having some problems and I'm not sure if it has to do with the file types or not. Everything was working well, almost without a hitch, until I had about 30 seconds of footage edited.
Then after effects would crash on loading the file without a log, or it would crash in any project (even a blank one) after a minute or so, with this message:
Last log message was: <140735165743488> <ae.blitpipe> <2> Making New Context
I have no idea what to do from here, our deadline is sunday and I have a lot of keying and masking to do.
Please help me troubleshoot this, I have a macbook pro 15 inch with a retina display.

In finder use the Go menu and hold down the Option key to reveal the Library. You can also open up preferences and click Reveal Preferences in Finder at the bottom of the General page. Another option is to hold down the Alt/Option + Ctrl/Cmnd + Shift When you launch AE and it will give you the option to delete your preferences file. I'm replying to this post from my iPhone, I'm not really sure about the shift key. Give it a try with, and if that doesn't work without.

Duplicate / multiple RED R3D clips

Hi folks,
I'm using Premiere Pro CC 7.2.2 on a Dell dual 8 core CPU PC and when importing RED Epic material, we get duplicate and sometimes many multiples of clips in their own folders within the import bin.
This has always been a problem with PP CC but seems to have worsened since we went to 7.2.2.
I'm sure other must have seen this, is anyone aware of a work around?
Many thanks
Ken

For sure. attached screenshot. I locked the 3rd track so you can see the difference.
Yup, I've tried relinking footage by making it offline & then relinking it. Also tried replacing it just for fun. Tried replacing it with a different file type, too, just to see. In all cases, the timeline clips remain striped out and unviewable, although the clip in the bin is totally in tact. And I can still 'reveal in bin' from the timeline, so those are still connected. It's really odd.

R3D, RED files based project showing no video preview after reinstalling CS6. Solution!

Hello Friends,
I just came across with a problem which happened with my RED R3D RAW Files shot on RED EPIC Camera and managed to solve it in a simple click after wasting many hours, so thought why not to share this on adobe forum so others can save time.
Problem was :-
I made a project in Primer pro CS6 with RED RAW R3D files and later I had to reinstall CS6. Later when I tried opening my same project which consist of R3D RED RAW files. The project opened successfully but I red files was seen but with no video preview, importing the new RED files where working fine but the old files which was imported when I made the project they where not playing at all.
Solution:-
You can select all you RED R3D Files and go to source settings, Click Reload from RMD. Problem Solved!!!
I hope this small write up will be helpful to some of you out their.
Cheers,
Saurabh Pandey.

I have verified this problem. After Effects CS6, Premiere Pro CS6, and Adobe Media Encoder CS6 experience problems with RED .r3d files on Mac OS X 10.10 Yosemite.
More specifically, the ImporterREDServer process used by these applications is failing to launch or crashing. You may be able to import and use some .r3d files for a short time, but once the ImporterREDServer process crashes, frames from imported files won't be returned, and importing new files will result in error messages.
We are investigating the problem.
This problem does not occur in the CC or CC 2014 versions of After Effects, Premiere Pro, or Adobe Media Encoder on Mac OS X 10.10 Yosemite. If you do not have access to these versions, my suggestion for workarounds are to transcode the .r3d files to a different format (ex., QuickTime with ProRes or other high quality intermediate codec) or roll back to Mac OS X 10.9.

How do I load color corrected RMD (RED) files in CS5.

I have edited RED footage in cs5.
I now have received color corrected RMD files - however I don't see the color correction on any clips in the timeline.
What do I need to do to make sure edited footage (R3D files) on the timeline reflect color correction.
I tried replacing footage, it didn't work - if I import the R3D again, apply the cuts and place on timeline I see color correction but I am sure there's a better way to do this. Any pointers will be great.
Thanks.
RV

The following text from Adobe seems to indicate that there is "more" with CS5.5:
(taken from: http://www.adobe.com/products/premiere/extend.displayTab2.html#REDSupport)
The RED R3D Source Settings dialog box in Adobe Premiere Pro CS5.5 offers extensive control over the look of RED raw footage. In conjunction with the ability to change color settings per clip, you can save combinations of adjustments as custom presets, which can be applied to individual or multiple clips. The controls in the Source Settings dialog box include:
Debayer Detail — Vary the level of detail extracted from the image sensor.
Chroma — Denoise the red/blue channels.
OLPF Compensation — Eliminate color Moire fringes by controlling the optical low-pass filter (OLPF) that refines edge detail.
Maximum Bit Depth — Use this global setting to choose between 32-bit float and 8-bit.
White Balance — Manipulate Kelvin, Tint, and Saturation levels.
Timecode — Select the timecode track to use from the R3D file.
Color Settings — Adjust the ISO setting, exposure, red, green, blue, brightness, contrast, and highlight levels.
Color Space — Select the desired color space from among Camera RGB For RAW; Rec 709, the standard color space for HD; and REDspace, which is a more saturated variation of Camera RGB.
Gamma Curve — Override the gamma curve selection using several preset gamma curves.
User Curve — Use a custom curve created by the camera operator.
Jim

Wrong timecode with Dragon footage

In my 23.98 timeline, I have several clips that were shot at 24.00 fps on a RED Dragon. Premiere CC (2014) is showing the wrong timecode numbers, in the timecode display and also in exported XMLs. If I look at the clip properties window, it shows the correct start frame.
For example, one clip shows a beginning timecode of 14:23:12:02. If I open this clip in other software (Resolve, RedCine-X), the starting timecode is shown as 14:24:03:22. Premiere's properties dialog shows the following (correct numbers). This is causing a big problem, because I can't send a timeline to other software using XML.
Red R3D Details:
Camera Firmware Version: 5.2.16
Camera Sensor: DRAGON S35
Minimum Color Version: 2
Resolution: 5568x3132
FrameRate Num: 24000
FrameRate Den: 1000
Reel ID: 005
Timecode Preference: Absolute
Edge Timecode: 01:51:17:07
Absolute Timecode: 14:24:03:22

In addition to the timecode problem, Premiere is also showing the wrong tape name for these clips. For example, it shows A005_C012, where it should be A005_C012_0620IR. This makes it impossible to send an XML to other software.

RED .R3D Timecode

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