Avid workflow for Education

[Gavin Rizza]

Hi All

I work in film education and my university is on the brink of making an investment in two RED cameras. We're going RED for the obvious reasons of price and incredible images and also because we simply couldn't afford the investment needed for tape based HD post. Simply, camera stock + post stock + VTRs would be far too expensive. RED cuts through all of this and means every one of our 20, Mac Based, Avid systems become an HD capable machine.

But of course we need to make sure we can definitely post our footage. The workflow I think will work is this;

1. Copy all .R3D files to archive volume
2. Use REDCINE to choose selects & do initial first light pass
3. Export selects as new HQ proxies from REDCINE
4. Import and transcode HQ proxies as DNxHD 36 using Compressor
5. Use MetaCheater to import DNxHD QTs with Metadata into Avid
6. Edit

Now for these student projects we probably won't ever go back to 4K and the DNx36 is probably good enough for the SD deliverables the students need (DV or DVD copies) for showreels etc.

But if we did want to go back to the 4K and do a real conform (with the transitions, FX etc we applied in Avid) how would be go about this? Can it be done?

We've just been told we've got the money to make this investment (but it has to work) so before we fill out the order any help, info and advice from you guys would be fantastic.

Thanks in advance.

[MichaelP]

For the most part you have the steps down except for a few issues here and there... I would avoid the double transcode out of REDCINE. Unfortunately at ths time, the RED tools cannot select the different DNxHD codecs and only default to the first one in the stack - 175x/180x depending on frame rate. You would then take that and do another transcode in the system... although it will work - it does take up extra time and the pictures are going through a double decode/encode before post even starts.

I suggest that that you use REDrushes to create QT references quickly in REC709 space and then deal with color correction inside the Avid for your SD deliverables. Avid DNxHD36 is a great for managing storage as well as looking fantastic - it has been used to preview features on screens up to 40' so it will serve you well.

There are tools that will be coming online very soon from Avid and third parties that will make the back-end much more streamlined and let you use many of the 4K DI systems on the market. Avid DS uses an AFE conform to DPX files as another possible solution.

If you are going to IBC you will see many of these workflows in action. In the meantime, if you want to email me at michael(underscore)phillips(at)avid(dot0com I can make sure that the right information gets to you via our Europe Avid offices directly in addition to all the great information here from the Avid/RED users.

Michael

[Gavin Rizza]

Hey Michael,

Thanks for the prompt reply. Good to know I'm on the right track. I'll look forward to the new info coming soon about getting back to 4K.

[Scott Brown]

Hi

Good to hear that Scotland will have some more Red's coming in - we're based up in Aberdeen and have the first Red in Scotland.

Give us a shout if we can be of any help.

Best wishes

Scott

[Gavin Rizza]

Hi Scott,

Great to hear from you and thank you very much for the offer of help we will take you up on the it some time soon. Do you run a production company or a hire facility up there? I'll PM you my contact details and maybe we can arrange a chat.

Many Thanks,

Gavin

[Gopher77]

HI Gavin,
We are preparing to incorporate red into our cirriculum. We have two cameras on order and Avid will be our main platform. We have just purchased an Avid ISIS system so we will be networked, also we will have the new DSV10 as a finishing station. We hope to be underway by the first of the year with this workflow, so I'll PM you anytips or tricks we learn along the way. As a backup we are loading FCP and Adobe on the systems as well, but Avid will still be the software we teach for editing.

Dave

[Gavin Rizza]

Hello Dave,

We're also networked via an EditShare 8TB (which has been bullet proof for both Avid and FCP). What are you planning to do about storage of rushes? Currently I'm planning to add another couple of TBs to the current setup but dedicate these media spaces purely for archive. However knowing how much students tend to shoot I'm unsure just how practical this will be in the long term. Any thoughts? This year I'm going to upgrade all of our current Mojo SDI suites to the new Mojo DX and then next year maybe go for Nitris DX or the new DS10.

Gavin

[Marcus Vasques Osorio]

Storage is always best done by LTO, you can pick one up pretty cheap nowadays... you fit 400GB per tape and it is small and easy to store. Unless you need direct access for all the material

Mahvo

[Gavin Rizza]

Hi Mahvo,

I've not used tape backups for years and I seem to remember write and read times where pretty long. How much time do you think it would take to get 80GB off of a tape archive and ready to use again?

[David Price]

Hi Mahvo,

I've not used tape backups for years and I seem to remember write and read times where pretty long. How much time do you think it would take to get 80GB off of a tape archive and ready to use again?

I'm currently coordinating our post upgrade and we have been running an 18TB Editshare since February with 15 MC v3.0 offline systems feeding our two Symphony Nitris DX Onlines.

Backup we are now testing (so far successfully) is to a Quantum LTO3A Autoloader which allows 1GB ethernet transfers via an FTP utility, a Java Based Web Browser or (soon to be tested) Final Cut Server and / or Imagineering HD Log.

We too are evaluating file based workflows (I've got a RED production in offlineline and another about to start) and are trying to sort through some issues with Deanan and Michael Phillips help - one online is scheduled for next Wednesday and we don't have any graded selects back yet!

Drop me a line if interested in corresponding further - dprice(at)unimelb(dot)edu(dot)au