Comments on: RED Log and Transfer plug in

By: » RED????????????????????? | ?????????????????????? -EditingSupportBox-

Fri, 05 Nov 2010 03:29:18 +0000

[...] Video? FCP? REDCODE RAW??????????????? RED Log and Transfer plugin????????? Avid?? Flash Video??????????Flash Video? [...]

By: Zardoz

Zardoz — Tue, 08 Jul 2008 22:17:58 +0000

I’m answering my own question here, but I see that you’re using Leopard and I’m assuming that you only get all of that wonderful information with FCP 6.0.4 and not 6.0.3? I’m on Tiger and 6.0.3 and am only able to see the same old info as usual. Updates and I go together like… nothing funny enough that I can think of. But you get the idea.

By: bomani

bomani — Fri, 20 Jun 2008 00:24:27 +0000

The only problem is footage ingested with Log and Transfer and edited cannot be sent to COLOR, if you try to send your sequence to color it crashes
so it really causes more hassle than help.
Unless someone knows of a fix to this?

By: The Editblog » RED Log and Transfer tool reads time of day code

The Editblog » RED Log and Transfer tool reads time of day code — Tue, 20 May 2008 21:17:43 +0000

[...] I recently posted info about a quick test I did with the newly released RED Log and Transfer plug-in for Final Cut Pro that enabled one to use that tool to directly import RED footage into the ProRes codec without ever (thankfully) touching RedCine. All seemed well (except for the fact the footage was brought in at half the resolution at which it was shot) but today I noticed something that may be a bit more troubling. [...]

By: The Editblog » RED Log and Transfer tool reads time of day code

The Editblog » RED Log and Transfer tool reads time of day code — Tue, 20 May 2008 21:17:43 +0000

By: ccr

ccr — Wed, 23 Apr 2008 20:42:54 +0000

The 1/2 resolution is not due to the L&T window, rather, it’s a function of the underlying RED QuickTime codec which will be
updated to support full resolution soon.

By: luca

luca — Wed, 23 Apr 2008 10:28:39 +0000

I suggest that the first thing should be to report to the prores clip the correct reel id (the embedded one, if there is) not the parent directory name, this could create confusion in the next steps in DI workflow

By: Gopal Balaji

Gopal Balaji — Sun, 20 Apr 2008 06:51:34 +0000

I thought of working on 2K rather than 4K and my worry is about the 2k consistency of all my footage rather than 2K and 1K in my Timeline.

By: editblog-admin

editblog-admin — Sat, 19 Apr 2008 16:53:01 +0000

Gopal,
This is a known bug that RED commented on. This is such an early version that it will be fixed. Of course, other than film output, do you really ever NEED to work at 4K? That just seems so overkill for anything other than film.

By: Gopal Balaji

Gopal Balaji — Sat, 19 Apr 2008 16:33:56 +0000

I find one disadvantage with the tool. Every clip is transcoded to Apple Pro Res422 / HQ in half the resolution. If your R3D is 4k you will get 2k movie and if you have 2k R3D you will get only 1024 X 512.

Why not we have the 2k at the same resolution?

Thoughts and comments?