i only have 32 bit system.. dont know if that matters...re: output from recine X for your audio...
but if I can help any way ( ftp some files to me ( i have ftp site ) or send graid ( i can use fw800 ) )...
would be willing to run stuff through here...and send back quick
have a graid I can mail to you if you want ( 1 Tb )
if i was you id be bummed too...sorry this has happened...
our only workaround is to export audio files from RED CINE-X Pro, import them to Premiere, and then sync them up with the video, which is a royal PITA.
Yeah, that kind of defeats the whole point of recording audio in cam in the first place, doesn't it?
Why not transcode the footage? Cineform for example. Or do you really need 12-bit footage to work with?
Even if you did, you could work with transcoded files (since they can have lossless audio from the source, see Neo HDLink options) and when you're done you just swap cineform files with RED RAW source material.
That's what I did for my recent project.
Much better than working with bayer-RAW source material in NLE (speed-wise).
Perhaps working with transcoded files is a better option, but for my
workflow I prefer working with the RAW since I can do so much more with
color correction with the RAW files. And I prefer not to color correct in
Cine-x Pro because I find it awkward to use well. I’ve never liked working
with proxies, and since my system is more than powerful enough to handle
the RAW files, I really have no need.
Tell me, is there such a big difference (image-wise, honestly) when color-correcting 10-bit and 12-bit footage in your NLE?
Cineform 10-bit files (as they refer to them "Cineform RAW") store lots of data for post CC. Even if you plan swapping them with original RAW media.
I'm not trying to start a war here, just curious =)
I've worked with RED RAW directly in the NLE and let me say, boy is it slow...
You must have a monstrous machine to be able to do that.
EDIT: When I say CC I mean CC in the NLE of your choice, not in Cine-X or Cineform's FirstLight.
That way you can easily swap the footage. But you already know that, I presume.
Probably not much image difference, no… certainly none I could see. But
when you work for a company with a tiny budget ($2500/year) for their film
program, you live with what you can get… and Cineform isn’t part of that…
it’s too stinkin expensive. I used to have it back in CS3 days, but ended
up having more trouble than success with it so I dumped it and didn’t
bother buying upgrades as they came out.
My machine’s not that monster, but it works well… I can generally get two
or three layers of Red RAW with CC and transitions (I don’t really do
effects beyond CC) and I don’t really notice it slowing down any more than
it does for a single layer of XDCAM-EX footage…
Ultimately the problem wasn’t as bad as it could have been… I’ve not used
the “merge files” feature of CS5.5 yet, and was blown away at how good it
works… literally less than two hours and I had mxf/aaf audio only files
rendered out from Cine-x Pro and then merged with my clips in PrPro…
I dont know if the original poster is on PC or Mac. David, if you are on a Mac, stay the heck away from Cineform. It is nonfunctional on the Mac platform currently. I tried working with the developers months ago to find out why all Adobe products (PrP, AE, AME) crash HARD when attempting to export to Cineform 422. They never resolved the problem.
I'm on PC, but that's good to know... thanks.
Well if you have a Mac-only pipeline, then - yes.
But on Win platform it's the best intermediate I could find.
I'll see why my RED RAW was so slow, thanks.
UPDATE: "But on Win platform it's the best intermediate I could find"
Not literaly "the best", but rather "I liked it and it works". There are alternatives.