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conforming Red quicktime proxys to .R3D in FCP

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Ramon DeSouza
conforming Red quicktime proxys to .R3D in FCP
on Sep 27, 2009 at 7:11:22 pm

Hello,

I'm cutting a piece for a client right now and need urgent help troubleshooting an issue I encountered with the Red Cam footage.

My client did a straight import of the Quicktime proxy files (the quicktime wrapper file which has the lowest resolution) and picked his selects before I came on board to edit the project. Since we are in a rush, I had to work with his FCP project file without doing a log and transfer so that we wouldn't have to pull selects again. Since the footage wasn't imported using the Log & Transfer function, I am now having problems doing a conform edit. When I make the sequence footage offline via media manager and try to batch capture, FCP won't launch the file & transfer window and a dialog window opens up saying that the HDV device is not connected. I've been told that this happens because the proxy files were imported via the import command in the file menu instead of being imported via Log & Transfer.

Any ideas on how I can fix this problem in order to reconnect my offline edit with the .RD3 files? Or any other workflow tips for getting this Red footage online so that I can still access the camera settings when we do color correction in Apple's Color?


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Uli Plank
Re: conforming Red quicktime proxys to .R3D in FCP
on Sep 27, 2009 at 7:57:32 pm

There's an easy fix and it's even free: get Clipfinder by H. G. Daun.

Regards,

Uli

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts


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Alex Elkins
Re: conforming Red quicktime proxys to .R3D in FCP
on Sep 28, 2009 at 3:41:36 pm

Clipfinder works well, as Uli says.


[Ramon DeSouza] "Or any other workflow tips for getting this Red footage online so that I can still access the camera settings when we do color correction in Apple's Color?"

If you're going to be working in Color for a grade and conform it's also possible to save an EDL, open in Text Edit and use the 'Find and Replace' function to remove the '_p' from each of the clips - i.e. 'Find _p' / 'replace with leave blank'.
I've tested this and it's always worked fine for me, but if you can get Clipfinder working, go with that.

All the best,
Alex Elkins


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David Battistella
Re: conforming Red quicktime proxys to .R3D in FCP
on Sep 28, 2009 at 3:53:32 pm



See above post.

david


Peace
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http://www.ripperhockey.com


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Paul Buhl
Re: conforming Red quicktime proxys to .R3D in FCP
on Nov 2, 2009 at 6:09:25 am

you're mixing in unnecessary steps. You don't use Log & Transfer to work with proxies because you are not transcoding the proxies to a different format as you would with MXF to QT, etc. Proxies are just imported. You don't use batch capture unless you are capturing from tape, which is why FCP is looking for an HDV device. With the proxy method you are using, you can simply reconnect the media back to the 2K or 4K files, color correct the r3d media in Color, then make prores renders from Color.
The tricky part is conforming a r3d project when cutting in FCP, because FCP can't write the r3d codec. I've actually had luck working with the R3d media unconformed, with original handles in Color. If you have issues with the "send to FCP" stage, then you may have to find the prores Color renders and manually drop the clips back into your FCP sequence. Sounds like a big pain, but it works and avoids the hassle of the pre-Color conform, which is very tricky. Your prores renders from Color will be conformed. If you want to conform before Color, you will have to do some detailed research

Paul Buhl
Editor & Post Production Supervisor
http://www.acifilms.com


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Miguel Valenzuela
Re: conforming Red quicktime proxys to .R3D in FCP
on Dec 23, 2009 at 11:47:47 pm

I've had similar problems, a work around was to Log and Transfer the media using the native codec (ie RD3- download from the red site), Media Manage it to DV PAL for the offline, store the REDCODE .mov footage, Edit the offline DV PAL, then reconnect to the REDCODE footage prior to color grading. Depending on the amount of footage to space ratio you have it has proven less clunky than other paths.

You can then choose to use the original RD3's and color correct with red alert in REDSPACE or work directly within a Pro Res4444 sequence- to color and back- depending on your finishing format.


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