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RedCine and RedCode plug in for FCS2

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Bob Zelin
RedCine and RedCode plug in for FCS2
on Nov 22, 2007 at 2:43:37 am

http://www.red.com:80/support/release_history/8

The RedCode plugin for Final Cut Pro came out FINALLY. Rob came thru. And RedCine V1.0 is out as well.

It's now November 21st - about the same delayed release as the AJA I/O HD. So I will shut up now, and start reading. (The RED site states Nov 14th release date).

Bob Zelin


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Barend Onneweer
Re: RedCine and RedCode plug in for FCS2
on Nov 26, 2007 at 8:25:56 pm

I'm supervising VFX on a short film that was shot last friday and saturday. We shot #47 (rented) with Arri Ultraprimes (nice...).

During the shoot the CF cards were copied to two harddrives on-set (the drives holding duplicate data) and this morning one of the drives was hooked up to an Intel Mac FCP station and all the data was loaded in.

The camera creates Quicktime proxy files directly with the RAW files. The proxys are just empty wrappers that decode a 1k or 2k extract from the RAW files.

The editor could edit the files directly in FCP without transcoding. I was also able to import the files in After Effects on Intel Mac (with the Quicktime codec installed).

What we plan on doing is edit 'offline' in FCP, convert the needed files to 2k dpx or tif sequences (using RedAlert or Redcine) and import the FCP project into AE to conform and perform visual effects and compositing.

So far so good.

Annoyances:

The camera 'crashed' two times on-set because the 1st AC tried to push too many buttons quickly after another. No data loss.

We couldn't get the HDMI outputs to work - this is supposed to be fixed in a future firmware.

On my Windows machines Redcine opens R3D files, but doesn't convert. Currently we're using RedAlert on OSX to convert the files. Hopefully Redcine will work at some point and batch convert from EDL.

Even better would be the ability to read Redcode RAW files (without the QT wrapper) directly into After Effects, or other applications.

Good stuff:

Picture quality is very nice - half of this project was shot in front of bluescreen and the clean image will help pull a good matte.

Fast turn-around: We're editing with the same files produced by the camera. The next day.

75 fps slomos look good!

I'll keep you posted. We're looking at a 4 week post-production path from now on. But all in all, it works and at this point it's not more of a hassle than shooting P2 a year ago.

Barend

Raamw3rk - digital storytelling and visual effects


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