Trouble importing RED footage

Hi there, I'm really hoping someone might be able to help me - I'm cutting a project shot on a RED scarlett (dragon censor) in Premiere CS6, but I'm having issues opening the files...
each time I try importing or even opening the footage I get an error message: 'unsupported format or damaged file'. I read a few threads that said it might be an issue with Yosemite?
I know the files aren't damaged because when I picked the footage up from my DP he was watching the clips back on his Premiere pro.
The files open perfectly in RED cineX Pro, but won't export - I get the error message 'RCX does not support Intel devices for Open CL'
Any help would be greatly appreciated.
Thanks
Brett

attempted import of your file using cs6.0.5
up to and including red epic - no problem,
but i have never been able to import any red dragon media into cs6,
resorting to flipping it to something else using redcine-x
hahahahahahahahahahaha!!!

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Importing red footage with premiere pro trial download

Trial period only gives the standard importing format. How can i import Red footage?

You can't. It's a licensing limitation.
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Trouble with RED footage

I've been hired to do a re-edit on a short film shot on the RED. I have FCP7. The video which had already been rendered plays fine on the timeline. But I can't get the clips to play on the Viewer. The audio plays, but for the video all I get is a white screen. (see attached screenshot image).
Also, when I try to render footage, I get a message saying, 'Codec not found. You may be using a compression type without the corresponding hardware card.' (see screenshot image). I can play other video just fine. What am I missing? Thanks.

I get this message when I tried to open the movie file:
But yet it plays on the fcp timeline.

Trouble importing 24p footage (no timecode!)

I shot a project on a Panasonic HVX-100 in 24p advanced pulldown i believe, and I am not trying to import it into FCP 5 using a canon GL2.
FCP will not let me capture now because it keeps waiting for a time code, but there is not one visible on the tape. Is there a way to work around this? Also I can play the tape on the GL2 and in FCP, just not import it.
thanks in advance.

All DV footage contains timecode. It is part of the DV stream. If you capture with Firewire the timecode is there, however if you are using Capture Now, FCP will not properly deal with the timecode from the tape. FCP will instead create new timecode fromt the beginning of the capture now footage.
If FCP is "waiting for timecode" that means it is waiting for footage that matches what it expects to see based on your capture settings. I would bet your capture settings are wrong. Close your capture window and do an easy setup for DV NTSC 23.98 Advanced Pulldown removal and try again.
This will not work if the footage is not Advanced 24P. If it is not Advanced just capture with regular DV NTSC (or PAL if you are in the right country). You can remove the pulldown in Cinema tools but I wouldn't recommend it if you are inexperienced.
You could also have a bad firewire cable. I had one a while back and replacing it fixed all kinds of mystery bugs.

Problem with red footage import

I cannot import red footage in premiere pro cs4: error message "file grayed or damaged" Do you know why ?

After quitting CC (I'm not a subscriber kind of user, that's all), I went back to my master suite Cs6.
I did one mistake, updating to the current version. A sign of my problem was that Ae Cs6 didn't worked either (in terms of RED files).
(FCPX and RED Cine X etc worked fine, so I excluded a problem on my system)
The only solution that I found was working was: After I rolled back to Pr Cs6 6.0.2 (I do no updates druing productions, so one MAC was on 6.0.2, I just copied it)
It didn't worked with 6.0.0 nor with any other than the one named above.
The ImporterRedserver.app was 6.0.0 and the Importerred.bundle was the only one in history named ImporterRED 3.38.08 PM.bundle, which was version 6.0.1
Of course that will not work with Dragon. I tested Scarlet and Epic files from the past two years. They open fine.
The problem is, if one mixes the versions (e.g., newest RED Cine X and the Photoshop plug in, the stored information in the .RMD file might shift the color: compare Ps RED plug in v6 and v7, with an RMD setting done in RED Cine X. There is a huge shift in blue)
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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

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 with audio won´t import to timeline anymore?!

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

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

Importing red one footage with final Cut 6

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I would do the transcoding to ProRes 422 in Redcine-X. Then import those files into FCP. It works better than FCP's Log and Transfer when working with RED footage. You have more options for transcoding.

Pr cs5 is not good,import 3k or 4k "Red" footage,crash or fail!

Pr cs5 is not good,import 3k or 4k "Red" footage,crash or fail! only support 2k footage...HELP!
In Pr cs4 ,install RED ADOBE CS4 plugin,such as 2k/3k/4k "red"cut footage is no problem..

1.2?
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- PPro 1.5 is quite old, say 7-8 years, and things have changed quite a bit. CS5 supports converting projects from CS4 and CS3, but we make no guarantee at all about any previous versions. If you have CS3, you should be able to open your 1.5 project and save it as a CS3 project, which CS5 would then open. Even that has its own risks.

Trouble importing HDV mini DV footage from my Sony HVR Z7U into FCP 6.0.6

Cannot import HDV mini DV footage from my HVR Z7U camcorder into Final Cut Pro
I can Import the footage as an NTSC 720x480 signal.
One consistent answer is to make sure that in camcorders menu settings that the IN/OUT REC - iLINK SET is set to off.
No Luck, no communication with FCP in that mode.
That being said when cameras ilink is on I can import 740/480 NTSC video, not HDV.
Here’s where I’m at now
The video was shot in 1080i 30p onmini DV. With my Sony HVR Z7U Ican only import the video into FCP as a NTSC 720x480 signal. It looks great butnot in HDV?
I believe I have tried most every setting in my FCP audio video settings to import the HD footage into FCP. FCPseems to only recognize the camcorder in the NTSC mode.
Example - In FCP Audio /Video Settings
Sequence Preset - HDV 108030p
Capture Preset    - HDV
Device Control     - HDV FireWire Basic
Video Playback   - Only gives none or NTSC choices(I chose Apple FireWire)
With the setting above and Sony’s ilink off- window alert reads…
“Device is not connected or the capture preset is not set up correctly. You may still log offline clips. This might also happen if you play DV footage in an HDV device.” The camcorder viewer reads the digital footage as 1080i 30p. So it’s not shot in DV footage.
With the iLink on - I get the same window alert. Unless I capture in NTSC
For me FCP will only log and capture the footage when the Capture and Device Control Presets are set to a NTSC format and the camcorder ilink is on. Hence an NTSC 720x480 signal is imported. Not HDV?
Come on, I know this a common problem and I must be missing something very simple. Please Help! Many thanks.
Gary Boland
FCP 6.0.6
Mac G5
Someone mentioned using log and transfer. I use this with all my Compact Flash HD videos. I have found no info for importing HDV from mini DV in log and transfer with a (my) camcorder.

Gary, this is the Final Cut Pro X forum. You might try the other forum for FCP. Still, I have the Z5U Sony which is nearly identical to your camera except for the zoom as I recall. I think we have the same menu system. I see to recall there is a menu option that sets the output file format. Also you can set it to record in SD as well as I recall. I read my files in from tape to FCP X easily ... in high def. Best wishes.
stephen

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

Need help importing Hi8 footage into FCE4

Hi all,
I have a Sony Digital 8 TRV310 camcorder. I'd like to be able to import the Sony footage directly into FCE 4 but am having trouble.
I've successfully imported Hi8 footage from the TRV310 into FCE 4 in the past (it's been a couple years) but for the life of me I cannot remember how I did it (it had something to do with Easy Setup and choosing 'device control = none' or something like that. I can't seem to find that option anymore and the only 'device control none' is 'DV-NTSC DV Converter' and that selection doesn't work for the import).
Here is the process that I am going through:
1. I hook my Sony TRV310 up to my Mac Pro via a firewire 400 cable, turn the camera on and switch it to VTR (play) mode. I manually cue to the beginning of the footage I want to capture.
2. Before attempting to import Sony footage into FCE 4 I go to 'easy setup' and dial in format=NTSC and use=DV-NTSC then click the setup button. I then go to file-->capture and a small window pops up indicating that capture is being initialized.
3. The the 'capture window' pops up with preview screen indicating that 'preview has been disabled'
4. I then hit the 'play' button in the capture window and then hit the 'capture now' button.
A black window with 'Final Cut Express and Apple logo' pops up for a few seconds, then a warning window pops up which states 'this operation could not be completed as there is no video'.
Any help with this will be greatly appreciated.
Thanks.
Dennis

Sounds pretty close to me.
Try starting a NEW Project the the DV Converter option selected , you may not have initiated the DV Converter option.
Also there is no device control, so the Capture Now will not work, Start the camera manually and use the Escape key to stop capture.
Al

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/

Cannot Ingest RED Footage in Prelude

I'm trying to ingest RED Epic footage in a variety of formats, but Prelude is unable to pull any of it in. The error message reported in the Events panel is "Import task - import file: "{path\filename}.R3D" failed. Reason: Import XMP failed!"
I'm running Win7 x64. Prelude is version CS6 1.0.1
The updated ImporterRED.prm is located in D:\Program Files\Adobe\Adobe Prelude CS6\Plug-ins\Common\
The updated ImporterREDServer.exe is located in D:\Program Files\Adobe\Adobe Prelude CS6\
I can pull the footage into Premiere Pro with no issue. Does anyone have a fix?
Thanks,
Stivan

it says in the manual that prelude cannot import red without transcoding...
since it cannot write to reds metadata it is a waste of time anyways

Trouble importing RED footage

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