I'm brining in a bunch of R3D's from a Helium sensor and I'm using IPP2 in the source settings. When I apply a LUT in the source settings (RWG_Log3G10 to REC709_BT1886 with NO_CONTRAST and R_4_VerySoft size_33 v1.13.cube), it doesn't render out in the proxies and I have a proxy file with a LOG gamma and a hi res file with REC709. Is there a way for me to bake that into the proxy?
Premiere Version 22.2.0
Correct, the "RED Source Settings" Source Effect is not supported with the Proxy Workflow.
It's mentioned in the "Known items & tips" section.
The workaround would be to set the RED Source Settings as desired to the RED source clips, then send the RED Source Clips to Adobe Media Encoder and transcode to settings that will work well as a Proxy (like custom QuickTime using ProRes Proxy at a snaller frame size, and then attach the resuling MOV files via right-click > Proxy > Attach Proxies....
When creating Proxy files manually like this, it's especially helpful to follow the following tip from the "Known items & tips" section fo the Premiere Pro user guide:
Thanks so much for the reply, I'm gonna try that and I'll post of it works.
It looks like that method works, thank so much
So on one of the bins, when I point to the folder with the proxies, it automatically defaults to the MOV's next to each R3D. I don't want to do this, I want to link to the proxies I created but it will only link one file to that path and default to the MOV's next to the R3d forcing me to point each clip individually. I tried various combinations of check boxes but nothing seems to work, I dont want to have to link each clip. Any thoughts?
It would be great if the Create Proxy option for RED footage had a "render RED Source Settings" option, right?
To minimize the futz-work such that you can have proxies with the RED Source Settings, I'd create a first-pass of proxies via Create Proxy to create and attach a proxy to each Full Resolution clip. I'd then send the Full Resolution clips to Media Encoder to create second-pass proxies that have the RED Source Setting rendered into them and make sure that the filenames match the first-pass proxies exactly. Then, with the Premiere Pro project closed, overwrite the first-pass proxies with the second-pass proxies in the Finder.
Yeah, it should be easier. As long as there's not an unxpected audio conflict, this should work. Test it on one file frist.
Yeah, I think I'm just going to live with the proxy footage as LOG and apply a LUT on an adjustment layer for review. It's too much hassle to make all those passes when it will just default to the QT's next to the R3D's anyway. Thanks for the insight though!
It is so frustrating when some rather obvious parts of the normal workflow don't ... flow.
It's frustrating because RED has been around for long enought that they should be aware of the workflow needs. I still can't get the QT's the camera makes to span the multiple files for use as proxies because of the 2GB file limit (that would eliminate a lot of this problem). Supposedly the camera can do a UDF format rather than a FAT32 that will eliminate the 2GB problem. However most DP's wont be aware of that and will be very reluctant to try something they aren;t familiar with, and rightfully so.
From RED's point of view, RED workflow is to transcode RED RAW files using REDCINE-X Pro to Apple ProRes where we can apply a "one-light" color correction during the transcoding process.
REDCINE-X Pro is available for free from RED.
I've always wished that the Premiere Pro user documentation included something about this, mostly because this approach enables Smart Rendering in Premiere Pro (things are faster).
As far as a 2GB file size limit goes, you mean the 4GB limit of FAT32, right? As long as we use the Media Browser to import RED clips, spanning shouldn't be an issue. When creating Full Resolution or Proxy Resolution QuickTimes, we'd need to save to a volume format that supports larger file sizes.