Blackmagic Forum

I have been experiencing this problem since I first tried doing it, version 12.5
If I try to trim consolidate any R3D clip with multiple segment (S001 S002...) will go wrong.
From what I gathered, let's say the cut in timeline uses half of s002 segment and half of s003 segment the consolidate from media managemente will copy ONLY the s002 segment to its end, relinks to it and gives for the missing part a media offline.
Am i doing something wrong? Any way to fix this? Should I report it as a long standing bug?

Thanks

My workaround is not to trim R3D files and just Media Manage the complete clip, and get bigger drives.

There are formats that don't span files, and those generally will split fine with Media Management: Sony MXF, BMD Raw, DNG Raw, ProRes, etc. H.264 are huge problems, and we've even had problems with JPG graphics. The moment timecode is dodgy, the Media Management goes to hell. It doesn't happen a lot, and we don't like it when a client dumps about 19 formats in our laps and expects us to make logical sense out of them, but we grit our teeth and get it done.

There are some big houses that will transcode all files to lossless DPX or EXR, and those pretty much never have problems since they're sequences.

Second that. Split R3D files have been a problem for Media Management with trimming here too.

Is it BMD’s fault that they can’t trim R3D well? I can understand why Red would want to protect their golden goose.


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Who knows? But storage for archival is cheap these days. We have sold our Red's, so I can't try, but did you make proper subclips before consolidating or did you just work from a timeline with several cuts from one source clip? If not, try again.

Jason Conrad wrote:Is it BMD’s fault that they can’t trim R3D well? I can understand why Red would want to protect their golden goose.

I think it's the nature of spanned files, particularly R3D's. In the edit list it "appears" as a single file, but you go into the folder and realize it's not. Naturally, when it's cut in half, the edit program won't be able to locate the pieces, which have a slightly different name. You can force-conform them (generally), but it's tricky.

Uli Plank wrote:Who knows? But storage for archival is cheap these days. We have sold our Red's, so I can't try, but did you make proper subclips before consolidating or did you just work from a timeline with several cuts from one source clip? If not, try again.

Storage is cheap but still, when multiple films and series come with 8k red footage, or multiple cameras days shooting hundreds of tera get churn pretty quickly, even more if for real time playback I want to move the consolidate to a SSD for real time.

Doesn't seems a matter of multiple cuts of same clip. From here and fb answer seems just that spanned files are problem... I will have to deal with it. Or go back to using EDLSpy.

Marc Wielage wrote:There are some big houses that will transcode all files to lossless DPX or EXR, and those pretty much never have problems since they're sequences.

I see the advantage of it, but I don't like loosing raw controls when i had them.

Thanks for the inputs anyway. At least I know where to put my energies.

Jean Paul Sneider wrote:Any way to fix this?

Archive everything.

Jean Paul Sneider wrote:I see the advantage of it, but I don't like loosing raw controls when i had them.

There's nothing wrong with doing a very basic correction in RAW and converting into a high-quality codec or image sequence of your choice. You won't loose anything.

Uli Plank wrote:There's nothing wrong with doing a very basic correction in RAW and converting into a high-quality codec or image sequence of your choice. You won't lose anything.

I think this is very wise, and it's the same way many huge, large-budget productions work in Hollywood: unifying all the source material so it all comes in on uncompressed DPX or EXR files. I believe Netflix requires all work done either in Raw or in uncompressed.

I agree that getting the right Raw settings is very important, and you have to stay right on top of the transcode to make sure the color temperature, exposure, and other controls are exactly correct. Do all that and you'll have no problem making decent pictures from the resultant Log images. I do very, very little correcting in the Raw panel on camera raw projects anyway, and literally 99% of the heavy lifting is done after that.