Apply a LUT to proxy from R3D

Community Beginner ,
May 31, 2022 May 31, 2022

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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

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Editing , Export , How to

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Adobe Community Professional ,
May 31, 2022 May 31, 2022

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Correct, the "RED Source Settings" Source Effect is not supported with the Proxy Workflow.

 

https://helpx.adobe.com/in/premiere-pro/using/ingest-proxy-workflow.html

 

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:

  • The recommended Proxy workflow includes appending "_Proxy" to the name of your Proxy clips (for example, scene01_Proxy.mxf) and placing Proxy clips (on disk) in a folder named "Proxies" that is placed right next to the Full Res clips. This helps with reattachment of clips. The Create Proxies dialog's default destination setting takes care of both of these conditions. If you happen to set a custom destination, then you should add the Proxies folder to the destination. By default, any Create Proxies action automatically appends "_Proxies" to the clip name. 

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Community Beginner ,
May 31, 2022 May 31, 2022

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Thanks so much for the reply, I'm gonna try that and I'll post of it works.

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Community Beginner ,
May 31, 2022 May 31, 2022

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It looks like that method works, thank so much

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Adobe Community Professional ,
Jun 01, 2022 Jun 01, 2022

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@Thad24674629213k 

Could I trouble you to click "Correct Answer" under my post?  Thank you.

 

- Warren

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Community Beginner ,
Jun 03, 2022 Jun 03, 2022

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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?

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Adobe Community Professional ,
Jun 03, 2022 Jun 03, 2022

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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.

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Community Beginner ,
Jun 03, 2022 Jun 03, 2022

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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!

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Adobe Community Professional ,
Jun 03, 2022 Jun 03, 2022

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It is so frustrating when some rather obvious parts of the normal workflow don't ... flow.

 

Neil

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Community Beginner ,
Jun 03, 2022 Jun 03, 2022

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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. 

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Adobe Community Professional ,
Jun 03, 2022 Jun 03, 2022

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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.

https://www.red.com/download/redcine-x-pro-mac

  • The installation process can be a little tricky on more recent versions of macOS that are sticter about what an installer can and cannot do without user approval.
  • If you're delivering for theater projection or effects composting, use Apple ProRes 4444 for Premiere Pro Full Resolution clips.
  • If you're delivering a main file for web or TV, use Apple ProRes 422 or Apple ProRes 422 HQ for Premiere Pro Full Resolution clips.
  • When creating and attaching proxies in Premiere Pro, use Apple ProRes 422 Proxy.
  • The "one-light" color correction applied in REDCINE-X Pro will, of course, pass through to the Premiere Pro Full Resolution and Proxy clips.
  • You can choose from several presets to create more common looks, or you can create your own look.
  • Be sure to keep the original names of the R3D files when you generate new Apple ProRes media so that you can easily relink to them later.
  • You can sycn second-source audio in Premiere Pro with "Merge Clip" or in the Timeline.


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.

 

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