Workflow (good) News

I'm part of the development team for many things at RED, including the REDCINE. However, I did write the prototype REDCINE that was used to process the footage you saw today.
 
Seems to be some heavy focus on image sequences, so... Here's what I'm hoping for REDCINE... spit out small proxy .jpgs, png's, etc whatever sequences to edit realtime in your favorite editing app. Then have SOMEWAY to be able to update just the used footage/frames in your final size/quality/bit size format for final edit/"on-line".

And/or an easy way to get from REDCINE to say, CineForm codec in one step. That would be a great workflow.

Jim Arthurs
 
Jim Arthurs said:
Seems to be some heavy focus on image sequences, so... Here's what I'm hoping for REDCINE... spit out small proxy .jpgs, png's, etc whatever sequences to edit realtime in your favorite editing app. Then have SOMEWAY to be able to update just the used footage/frames in your final size/quality/bit size format for final edit/"on-line".

And/or an easy way to get from REDCINE to say, CineForm codec in one step. That would be a great workflow.

Jim Arthurs
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There are current tools and workflows that would accommodate this, but Im curious if the RED team is trying to address the workflow full circle on this front aswell.

It would be handy to use REDCINE as a sort of media manager.

Really it just needs to be able to import an EDL from Final Cut, Avid, etc and spit out those clips. Seems very logical to include this support.

Are you planning on adding this functionality Graeme?
 
We're planning on some cool workflows for those doing an online offline approach..... Not ready to divulge them yet though as we're still figuring the details, but I think you'll like them.

Graeme
 
Jim Arthurs said:
And/or an easy way to get from REDCINE to say, CineForm codec in one step. That would be a great workflow.

Jim Arthurs
Click to expand...

We at CineForm certainly hopes so and the REDCINE tool is perfect platform to do this. Direct conversion from REDCODE RAW to CineForm RAW would allow the raw workflow (and all its benefits) to be multi-stream real-time on the timeline. This enables you to delay all you color work until after your editing is complete. We now have CineForm RAW real-time at 4k (4096.) Note: going beyond 4096 is not supported for most of today's NLEs, although the CineForm codec can handle above 4k whatever the NLEs get an upgrade (we can crop or resize 4520 to 4096 as need during playback.)

Read more on CineForm RAW here : http://www.cineform.com/technology/CineForm_RAW.htm
 
Maybe this is a silly question, you have to process the footage on a computer using Redcine software before you can view it. This means you can not playback footage on the camera correct? Not sure if this matters much but just wanted to ask about it. From what little I know of the Andromeda DVX this is a similar workflow.

Also I'm a VFX student so my favorite way to work (apart from editing DV video) is with image sequences everywhere. Does anyone ever edit using image sequences? Perhaps an image sequence in some kind of container file that would allow you to access each frame at any time but still allow you to work with the sequence as a single clip when editing.
 
Stuart English said:
Think of these as complimentary paths. If you know you want 720p or 1080p output you can go directly there by doing all the processing in camera and recording a compressed 1080p image using REDCODE 4:2:2. Or you could shoot 4K RAW using REDCODE RAW and bring that data set through REDCINE.
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Thanks for the clarity Stuart.

Jim, Graeme, Stuart, et al – you completely rocketh.

- Clayton
 
WesVasher said:
Maybe this is a silly question, you have to process the footage on a computer using Redcine software before you can view it. This means you can not playback footage on the camera correct? Not sure if this matters much but just wanted to ask about it. From what little I know of the Andromeda DVX this is a similar workflow.

Also I'm a VFX student so my favorite way to work (apart from editing DV video) is with image sequences everywhere. Does anyone ever edit using image sequences? Perhaps an image sequence in some kind of container file that would allow you to access each frame at any time but still allow you to work with the sequence as a single clip when editing.
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It's not a silly question at all!
 
"you have to process the footage on a computer using Redcine software before you can view it." No - there will be ways to view it direct without processing.

"This means you can not playback footage on the camera correct?" No, the camera will decode and play back recorded RAW footage.

The workflow is not entirely similar to the Andromeda.
 
Thanks Graeme.

Just saw the video of the presentation on YouTube posted on DVInfo.net... looks pretty darned good even at that resolution.

"A different type of image"
 
hey graeme i just don't understand if we have 27 megabytes is more than 200 megabits at 24fps as 4k?

and if we want 2k or 1080p, the bitrate is the same.. correct?

still, is it possible 4k at red drive where 100gb means 1 hour of 4k (!) of footage?

even if we down to 1080p now, in the future (when it will be easy to edit 4k) is it possible to recover from 4k raw?
 
2k and 1080p will be lower data rates. I guess 100GB of REDCODE RAW 4k would last about an hour. That's the goal, as we have said for quite a while - about an hour's recording.

If you shoot 4k RAW, and downconvert to 1080p for edit, then yes, there should be a way to go back to 4K in the future.

Graeme
 
Will Redcode Raw be visually lossless?

If so, this is big. And I don't think the people stuck complaining about the form factor realise how big.
 
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Hi graeme,

Sorry if that been answered, so this workflow is simply for 4K only and future archiving/35mm printing. Shooting 2K or 1080p will go directly into your NLE as redcode? Do you still have plans to get recode incorporated into NLE's such as Premiere or FCP?

I could be wrong but did you not have an option for 4:4:4 with redcode at 2K? has that now changed to 4:2:2 only?

Of course real-time editing Recode 2K 4:4:4 would be the ultimate....

PS I have to say the 4K workflow is a great idea. You could shoot most of the film with 2K redcode but all your effects shots at 4K and export as a sequence of JPG's. amazing that the average guy like me could be working 4K effects shots on a mid-range PC! very good idea....

EDIT :

you dont have to answer this. looks like you still support 4:4:4 1080P. So many threads cropping up it takes a while to get thru them....
 
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One more question besides Darkline.

Seems to me that the RED camare will shoot more or less like any professional digital SLR photo camera.

Where you can shoot in RAW, and later adjust the settings to get the best out of the raw (either with camera raw in photosop, light room, Capture ONE or the Canon RAW application). That is great when we want the best footage.

But with any of these SLR you can also shoot in JPEG with different qualities, so incase you just dont need the extra advantage of RAW, or you just dont have the time to process the images later, you can have the photo quickly (with any setttings and color matrix that you have chosen in the menu settings).

As far as i understood, RED ONE will be able to do this too. Record in RGB to the hard drive, ready to be used. But i have not seen any more info about this on the website.

I dont need a deep explanation. I´m just asking for a yes or no answer. Are there more choices than shooting RAW?

Thanks
 
Very much so - shoot REDCODE RGB for "video" or REDCODE RAW for digital cinema. Either way, you're getting very visually lossless, happy to composite with footage, which you can REDCINE to convert to something else or tweak, or just use as is in your NLE.

Graeme
 
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