aneditor
03-10-2008, 03:38 PM
Hi,
I am the assistant editor on a job that is shooting on the RED, offlining on the Avid, color correcting on the DaVinci, and conforming on the Flame. Yes, it seems like there's a lot involved here, but at the moment, this is the process.
So, my question. What is the best way of getting this done?
I've listed the workflow that we're going with at the moment and would appreciate any input on what might be the "wrong" or "right" way of doing things.
1. ".r3d" files are going to the "dailies" house which is also the facility that rented the RED camera to the production company. They will be providing the editorial house with quicktime files w/ metadata. I will use MetaCheater to create an ALE to then batch import the quicktimes into the Avid.
2. After the offline, an EDL of the cuts will be sent back to the "dailies" house for them to match the .r3d files to so that we can receive either dpx files or an HDCAM-SR of the clips used w/ handles to provide to the "telecine" house.
3. The "telecine" house will do the tape-to-tape and provide the "online (flame)" facility with the color-corrected HDCAM-SR.
Now, my question is, is there a way to cut out the "dailies" house the second time around? Do I need to have them in the picture in order for me to get the dpx files to the "telecine" house, or can I create them myself using RedCine? I don't have .r3d files that I can use to test RedCine out to see what the process is, so it's hard for me to say, which is why I'm leaving it in the expert's ("dailies" house) hands. It would just be nice to know that I have the option if, for example, I have a last minute shot that needs to be transferred, and I can render out dpx files for the "telecine" house.
Any help would be greatly appreciated!!
Cheers,
Marrian
I am the assistant editor on a job that is shooting on the RED, offlining on the Avid, color correcting on the DaVinci, and conforming on the Flame. Yes, it seems like there's a lot involved here, but at the moment, this is the process.
So, my question. What is the best way of getting this done?
I've listed the workflow that we're going with at the moment and would appreciate any input on what might be the "wrong" or "right" way of doing things.
1. ".r3d" files are going to the "dailies" house which is also the facility that rented the RED camera to the production company. They will be providing the editorial house with quicktime files w/ metadata. I will use MetaCheater to create an ALE to then batch import the quicktimes into the Avid.
2. After the offline, an EDL of the cuts will be sent back to the "dailies" house for them to match the .r3d files to so that we can receive either dpx files or an HDCAM-SR of the clips used w/ handles to provide to the "telecine" house.
3. The "telecine" house will do the tape-to-tape and provide the "online (flame)" facility with the color-corrected HDCAM-SR.
Now, my question is, is there a way to cut out the "dailies" house the second time around? Do I need to have them in the picture in order for me to get the dpx files to the "telecine" house, or can I create them myself using RedCine? I don't have .r3d files that I can use to test RedCine out to see what the process is, so it's hard for me to say, which is why I'm leaving it in the expert's ("dailies" house) hands. It would just be nice to know that I have the option if, for example, I have a last minute shot that needs to be transferred, and I can render out dpx files for the "telecine" house.
Any help would be greatly appreciated!!
Cheers,
Marrian