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ON set RED workflow

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Greg Burke
ON set RED workflow
on Apr 24, 2010 at 2:40:04 am

Hey Guys, Question. I have found tutorials and video online that shows how ingest footage form a Hard drive into Final Cut Pro, but I can't for the life me find anything about Ingesting footage on the set from the camera to a hard drive (similar to the HVX workflow on set) Can anyone help me out?


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David Battistella
Re: ON set RED workflow
on Apr 24, 2010 at 3:40:30 am



If you want to do this I'd suggest an AJA KiPro.

You can also inject directly to FCP as well.

Daivd



Peace


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Greg Burke
Re: ON set RED workflow
on Apr 24, 2010 at 5:11:42 am

Well I'm looking a eat to take the proxy files off the camera on to a hard drive much like dumping p2 cards on set


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Uli Plank
Re: ON set RED workflow
on Apr 24, 2010 at 7:20:25 am

Don't copy just the proxies! They don't contain anything, they are just pointers to the R3D files (no proxies in the usual meaning).

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


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Greg Burke
Re: ON set RED workflow
on Apr 24, 2010 at 8:12:01 am

Thanks. I understand how to get the footage into FCP so you can edit what i don't know what to do its Get it from the camera onto a hard drive on site.


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David Battistella
Re: ON set RED workflow
on Apr 24, 2010 at 1:26:13 pm



Greg,

You do know that the RED records to it's own hard drive or CF card attached to the camera, right?

So you want to be able to copy material from that hard drive to a back up drive? Is that what you are asking here?

David


Peace


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Noah Kadner
Re: ON set RED workflow
on Apr 24, 2010 at 3:00:19 pm

Yeah- not sure what you are asking here. It's pretty much pop out the CF card or dismount the RED Drive and carefully back it up/copy to other drives for archiving/editorial. If you meant- can I record the live feed off the camera- I wouldn't bother as it's a 720 HD signal nowhere near the RAW 4K the camera is recording and with no way to correlate TC.

Noah

Check out my book: RED: The Ultimate Guide to Using the Revolutionary Camera!
Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Sony EX1 Guidebook, Panasonic HVX200, Canon EOS 5D Mark II and Canon 7D.
Watch Formosa- My indie movie shot with the SDX900 and finished with Final Cut Studio.


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Uli Plank
Re: ON set RED workflow
on Apr 24, 2010 at 11:32:46 pm

Copy the whole .RDM folder(s) and don't change any names.

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


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Russell Lasson
Re: ON set RED workflow
on Apr 26, 2010 at 5:32:05 pm

You can also use R3D Data Manager if you need the full feature check sum copy. Takes longer to do than just copying in Finder.

-Russ

Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net


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Thomas Pohl
Re: ON set RED workflow
on Apr 29, 2010 at 1:06:21 pm

The fastest way to backup on set is a Nexto-Drive. If you want to be really sure with the backup use two. I never had a problem with this method.

Cheers
Thomas.

http://www.footage-online.de


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Craig Harris
Re: ON set RED workflow
on May 3, 2010 at 12:32:50 am

Hello Thomas,
Wether you are using CF Cards or hard drives with the RED, it is important that you copy all media data to at least one hard drive. When using the RED, you have to copy everything including the 'digitdal.magazine.profile' files, or the footage may not work. Also, to avoid any accidents you should consider the different options out there for copying files and data logs.

Shotput (This will work with almost every tapeless camera and will generate checksums during the copy)
R3D Data Manager (This will only work with RED but is a great option for generating checksum reports and copy logs)
Data Wrangler (This is a great option if you make a living doing data management. It automates the process of copying files and generating checksum reports for multiple cameras)


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Ray Chung
Re: ON set RED workflow
on May 22, 2010 at 2:35:01 am

Hi Greg,

I'm currently a DIT on a RED shoot, and I was trying the very thing you're referring to. In my case, just to provide instant dailies/playback for checking/matching shots, rather than waiting for the drives/transfer or having them playback from camera. I have a Blackmagic Multibridge Pro, and tried to pipe in the single-cable SDI 720/59.94p to my SDI-in for live capture in FCP.

Problem is...the RED's SDI video out isn't a very good signal...it's really only meant for monitoring, and according to other users' experiences, has a lot of digital jitter in its signal...compounded by long cable runs. So in both FCP's log & capture, as well as BM's own capture app, I was getting blinks and picture drops even though it played fine on the reference monitors. Thus, it was unusable in that respect.

Here's a discussion on this very issue:
http://www.reduser.net/forum/showthread.php?t=18632

Apparently, AJA cards have a little more leeway with the video signal, but RED isn't exactly bending over backwards to improve the video out signal integrity, since it's really only meant for monitoring, as opposed to studio live recording to external systems etc. Apparently, the best way to ensure this is to also add a digital reclocker (a $650 and up piece of equipment) to the camera's video out on SDI to 'fix' the signal's quality before going SDI-in on your capture card if you're experiencing dropouts.

Another possible way is to either use an SDI-to-HDMI converter or the RED's HDMI out into a Blackmagic Intensity/Decklink/Multibridge or Matrox MXO2's HDMI in, and maybe it won't be as sensitive as the SDI's in....but then I'm not sure if you'll get timecode on that connection if that's important.

It really sucks that this is the case. Even though the real importance is obviously going 4K to the drives etc. and editing off of that, sometimes you want some playback right there (like in the old days with a tape machine hooked up to a film camera's video tap) before waiting to transfer the footage/proxies. I've had no problems with various Panasonic P2, HDV, and HDCAM's piping in SDI to live capture....just the RED.




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