4k workflow vids from studio daily (dalsa)/david stump

[Tonaci Tran]

http://www.studiodaily.com/main/video/8317.html

After watching these videos, it makes me grateful about the simplicity and efficiency of redcode raw and grateful to have the ability to record to red-drive and compact flash.

[Poi Boy]

Red is so going to kick Dalsa butt...omg.
Aloha
-A

[Sanjin Jukic]

David Stump just said what I was telling here a long ago about Leica lenses.
Dalsa made a couple of sets of Leica R lenses re-barreled in cine barrels.
David was greatly impressed with a qualitty of leica lenses..
By the way also long ago my another idea was that Jim Jannard could buy out Leica lens division stocks
from "fluffy" Austrian Leica owners:tongue: and make the best CINE lenes for the rest of 21 century,
enter in movie picture industry with RED ONE the most revolutionary 4K camera + workflow
and the best set of CINE primes and zooms ever.
But unfortunately I am not owner of RED or Leica either.
That's a pity.:clown2::sad:

[Rocco Schult]

Nice article/
getting the sucking FCP EDL fixed was the biggest problem.
Avoiding timecode was not the best idea it seems. There's alsways a challenge on every film with FCP EDLs, no matter who did them, I never experienced them running smoothly outisde the Apple world.

I wonder how good RedCine will handle this. Does it take in EDL or the XML ?
They tested it I believe, but going with a FCP EDL into an online is always a hassle. But as theres Assimiate behind at least the part from FCP into RedCine and performing the desired actions should work.
And after that ?

[Joe Carney]

I'm sure third party lens companies will make excellent glass for Red and Dalsa.

I'm just glad we won't have to mess around with those codex boxes.
Seems like having your laptop hooked up via GigE to a file server with LTO tape backup will be more than good enough.

[Robert Mott]

http://www.studiodaily.com/main/video/8317.html

After watching these videos, it makes me grateful about the simplicity and efficiency of redcode raw and grateful to have the ability to record to red-drive and compact flash.
David Stump was talking about 4K waveform and vectorscope needing to be invented. A week or two ago there was a discussion about the value of a histogram on the EVF.

Would the Histogram realistically be able to replace the waveform? I don't remember color information being in a histogram and so I don't think that would be replacing the vectorscope.

RKM

[GlennChan]

getting the sucking FCP EDL fixed was the biggest problem.

Is it really the FCP EDL that is screwed up? I don't think the FCP bashing is justified here... in my experience with it, the EDL is generated correctly. For **tape** based workflows, the common problems I've seen are:
A- The VTRs are not always frame accurate. You might get some inaccuracy when offline copies are ingested.
B- The editor doesn't know what he/she is doing. e.g. putting in b-reels, not paying attention to reel names being cut off at 8 characters.

2- In the case of the Dalsa data workflow, it seems that the EDL problem is different. The conforming application has to figure out which data file to grab picture from... it is presumably reading only the timecodes and the reel names, and therefore can't figure it out. The problem is somewhat inherent to EDLs / and what the conform system is doing.

3- And in a totally different kind of workflow... FCP <--> Final Touch (before it became Color), Final Touch would "work" with both EDLs and XML. Sometimes there were benefits to using EDLs. Supporting XML is not necessarily the best approach since a FCP XML is a different format than XMLs generated from other NLEs. And from what we've seen from Red so far, there is no intention to limit the camera to Final Cut Pro.

[M Most]

Is it really the FCP EDL that is screwed up? I don't think the FCP bashing is justified here... in my experience with it, the EDL is generated correctly. For **tape** based workflows, the common problems I've seen are:....

The most common problem with Final Cut EDL's in my experience has been that many, if not most, of those who cut on Final Cut are either very inexperienced themselves (very, very common, much more so than on Avid systems) or don't pay attention when loading and prepping material. Things like proper reel names are often overlooked, things are dropped into timelines that are not the correct format or running speed (and thus have to be converted prior to the conform, but the "editor" doesn't seem to know that), and things are done on multiple video tracks that are never accounted for, either by additional EDL's or notes to that effect. Elements are often missing (especially stills and graphics) and revisions are not always accounted for. Not to mention that material is digitized across time code breaks that are never noticed or accounted for as well.

Aside from that, things are usually fine.