Esperimentocinema is proud to be one of the alpha testers of new build of Red One and the new Redalert. The results are amazing: less noise (especially in the blue channel), more dinamyc range and more accurate white balance.

Esperimentocinema è orgoglioso di essere uno degli alpha tester del nuovo software della Red One  e del nuovo Redalert. I risultati sono fantastici: meno rumore (specialmente nel canale blu), più latitudine di posa e un  più accurato bilanciamento del bianco.

Our new MacPro 2x2,66 GHz quadcore Intel Xeon 12GB of ram with Ati radeon hd 4870 card run fast!
We get permanent 26 fps of average speed to transform 4k,3k,2k r3d files to 1k+ High proresSQ (not 1/4 of resolution, 1k+ High usually takes longer).
I'm using only firewire disks because we are waiting for the barracuda internal drives the next week and we are on OS 10.5.6 (someone reported updating to 10.5.7 increases a bit the render speed).
I've made the transcoding with the amazing digital swiss army knife Clipfinder!

Il nostro nuovo MacPro 2x2,66 GHz quadcore Intel Xeon 12GB di ram con scheda grafica Ati radeon hd 4870 va veloce! Abbiamo una velocità permanente di 26 fps per trasformare file r3d (4k,3k,2k) a file 1k+ proresSQ (non 1/4 di risoluzione, 1k+ high di solito ci mette di più). Stiamo usando solo dischi firewire perchè stiamo aspettando i dischi interni la settimana prossima e il sistema operativo è il 10.5.6 (quacuno ha riportato che l'update al 10.5.7 aumenta la velocità di rendering). La transcodifica è stata eseguita con il fantastico coltellino svizzero digitale Clipfinder!

This is the first post dedicated to "tech stuff", there's also a new category called Tech where I'll add workflows, tutorials and our best practices to work with digital files. Some people call here in the studio asking how managing the Red files...what we can say...there are a lot of ways to manage R3D files, the workflow I'm going to explain is quite easy and it's a good starting point:

Questo è il primo post dedicato alle questioni prettamente tecniche. C'è anche una nuova categoria nel blog chiamata Tech dove aggiungeremo workflow, tutorial e i nostri migliori metodi per lavorare con i file digitali. Alcune persone chiamano qui in studio chiedendoci come gestire il file Red...che posso dire...ci sono molti modi per lavorare con gli R3D files, il workflow che sto per illustrare è abbastanza semplice ed è un buon punto di partenza:

Thanks to Nick Shaw, Hans-Georg Daun, Rowland and me now the workflow with Apple Color is really easy:

1 Shoot 4k/2k 16:9 or 2:1

2 Drag the RDM folder in CLIPFINDER

3 Choose M proxies for 4k and H proxies for 2k

4 Drag the clips to FCP bin and make your edit with M (for 4k) proxies and with H (for 2k) proxies

5 When you finish your editing duplicate the sequence, put all the clips on the first video track and remove all the effects

6 Send to Color

7 Close Color project

8 Open CLIPFINDER and choose the Color project you want to fix, use the “looping bug” fixer in the Tools menu

9 Reopen Color project

10 Enjoy!

For longer projects with many hours of footage you can first trascode with Clipfinder the r3d files to mov files (choose 1/4 resolution proresSQ, it's quite fast) and then reconnect the mov with the proxies with Clipfinder (read the help of Clipfinder how to do it), then send to Color.

Note: Footage is fed into Color via the equivalent of a “half res high” decode, not quite as good as decoding full 4K and scaling but good enough (really good) for almost any HD finish and TV projects. If you want the maximum quality (full debayer decoding) you can use Clipfinder, Redcine or Redalert but the workflow discussed above is very straight forward, really fast and easy.