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Replacing red proxies with native r3d files

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Roger Kean
Replacing red proxies with native r3d files
on Mar 2, 2011 at 8:53:49 pm

I have been working on a project for work that had us cutting together a spot using red proxies. Now the boss wants us to go back and replace all the proxies with the native red footage. I just recently updated final cut pro 7 with the red studio codecs and can log and transfer the native red files. Is there a quick simple way to replace all the proxy video files with the native ones without having to do it individually?

Thanks again

Roger


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Noah Kadner
Re: Replacing red proxies with native r3d files
on Mar 4, 2011 at 6:05:42 am

Sure google for Clipfinder- that would do the trick.

Noah

Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Canon 5D Mark II and 7D.


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Michael Kammes
Re: Replacing red proxies with native r3d files
on Mar 4, 2011 at 3:45:38 pm

Can you explain what you want to do after relinking? That may help.

FCP, as you know, doesn't understand native R3D files in the timeline. What good will relinking to the raw files do? Are you sending this out of house for an online? Are you doing a color pass?

~Michael



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Noah Kadner
Re: Replacing red proxies with native r3d files
on Mar 5, 2011 at 6:51:01 pm

Yeah I wouldn't bother within FCP itself but rather at the assumed grading elsewhere stage. For this, you would use Clipfinder and some XML trickery.

Noah

Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Canon 5D Mark II and 7D.


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Gunleik Groven
Re: Replacing red proxies with native r3d files
on Mar 8, 2011 at 6:04:32 pm

If you are going for a RAW grade in Color, there is really no point in going the L&T to "native" route. You may as well just send your timeline to Color, run "colorfixer" on the xml from Clipfinder, adjust the projectsettings and scaling in Color and go on correct.

Color now supports the Rocket natively, if you have it. There have been reported on issues with Rocket and AJA Kona 3...

Personally I prefer making uncompressed online files, but that is a matter of preference...


Cheers

G


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Sean Kapleton
Re: placing red proxies with native r3d files
on May 9, 2011 at 5:53:03 pm

just curious after reading this thread. I am about to be passed a red fcp job for grading in color and I have some concerns. The editor explained to me that they edited with prores files and then reconnected to red files within fcp for me and that they would bring a drive with this project and media for grading in color. I want to make sure to go about this :90 spot avoiding tech issues if possible as the client insists we grade the raw r3d in color.
Can anyone chime in here about best practices? I read through the latest whitepaper and updated everything but I am not sure how best to do things exactly - it's been over a year since I did a r3d color job.


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Eric Bugbee
Re: Replacing, relinking Red proxies with native r3d files
on Jan 12, 2012 at 9:38:30 pm

I have the non Log and Transfer solution using Automatic Duck Free FCP Export and AE Pro Import.

You don't need to go the L&T route. Auto Duck says that you do - I even ran this by Wes Plate directly, before attempting it and he told me it wouldn't work. However, I surprised him with my workaround. You have to incorporate Text Edit to make this work.

Brief History: I worked on a 98 minute feature edit using Red M proxies in FCP 7 - with the idea that I'd be able to relink them to the R3Ds and color grade in RAW down the road. It is far superior to grade in Adobe RAW than in ProRes (which I did after migrating to Premiere Pro CS5.5).

The Problem: The relinking wasn't an easy task. Everywhere I looked, I was told that I needed to do an initial Log and Transfer in FCP - otherwise I'd be screwed - that I'd have to manually start all over and re-edit to my proxy cuts with L&T footage. After almost a year into the edit, there's no way that would happen. I never did any transcoding, because I didn't want to take the time and hard drive space. I also remembered watching an early Red workflow video that Michael Cioni and Ted Schillowitz did where they said that you didn't have to transcode.

The Solution: I spoke to my DIT, Ben Gaskell, and he told me I may be able to send out an XML and then do a Find and Replace in Text Edit. This worked. Very simple coding.

Here are the steps:

Export an XML using Auto Duck FCP Export.  From there, open that XML in Text Edit, and do a Find and Replace. Locate all your M.mov (or P.mov) files and replace them with "001.R3D". Then import that into AE with Auto Duck Pro XML importer - without using the "Replace with R3D" feature. Make sure that box is unchecked - keep that turned off.  

From there, copy and paste the entire AE project into Premiere Pro 5.5, and voila - it'll be in your 4k, 2k or 1080p timeline referencing your original R3Ds. You'll just need to Scale to Frame-size within Premiere and you'll be good to go.

A quick note: For many of your shots, you may have not only 001.R3D, but 002.R3d, 003.R3D, etc. I thought that'd be an issue, but in referencing the 001.R3D, After Effects made the calculation and I didn't need to re-link for the 002's and such. Depending on the size of your project, you may need to keep your XML exports from FCP to 30 min in total length or less. I ran into an issue with AE crashing when I tried importing the entire 98 min XML.

Anyhow, I'm very happy Ben and I figured out this route. The Log and Transfer method takes so much time and space. There's no need for it if you really want to grade in R3D - but you'll need to migrate to Premiere Pro to do it. The results are stunning!

Eric


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