New RR v3.6.0 renders to all DNxHD. What times do you get?

[Andrew McCarrick]

Andrew instead of spewing untruths and misinformation how about you focus on doing one thing well instead of many badly.

Because I feel like doing multiple things. Maybe because I have more talent and can multi-task. It keeps costs lower, because I have less people to pay, and, it's easier, because I'm involved in multiple aspects of the production. And it's my film, and do as I damn well please. You've never seen any footage from me, so how do you know if I do mutliple things 'badly'? Above and beyond that, I have nothing else to say.

[MichaelP]

Before I could do an ALE, I would have to go through the footage, do Circle Takes, process those in RED Cine and do the ALE, and then finally move to Media Composer for the Offline. Probably a 2-3 day process to edit one days worth of material.?

Having edited many features myself, the days of only capturing selects is gone. Capture everything for the editing since you never know what you need. On one film I was grabbing reaction shots from the few seconds before a slate because they worked better. You never know when you can matte in a better performance on a two shot from another take, or just a line etc. The selects shot is great from the camera reports on set - I make those clips green once in the Avid - secondary clips are orange, then the rest stay uncolored. Once you drop all those takes onto the script using ScriptSync, you will exactly what you have performance wise for every line delivered in context of the story. No better way to edit.

Michael

[Jörgen Persson]

On one film I was grabbing reaction shots from the few seconds before a slate because they worked better. You never know when you can matte in a better performance on a two shot from another take, or just a line etc.
Michael

I have a similiar experience from a short film... Just before "action", the camera operator was adjusting the framing and the actor was exhaling in a way that just felt right. So we stabilized it and it ended up in the final cut.

That was on a circled take, though. But still :)

[Florian Stadler]

Andrew I'm talking about your misinformation on ALE creation. All you have to do in Red Rushes is go to the tab "create ALE" and an ALE will be created before you can blink. How this process of milliseconds can hold you back from shooting Red in general is beyond me. At that point I was baffled at your ignorance and felt the obligation to point out the obvious.

[Andrew McCarrick]

What is on an ALE that I need anyway, that couldn't be covered by metadata coming from a file out of REDCine without an ALE? And how would those specific things benefit me moving from Media Composer to an Online (most likely in DVS Clipster)?

[MichaelP]

The QuickTime exported out of any of these applications only contain a single timecode and the name of the file is your only source reference. Very limited compared to the ALE file which tracks both timecodes, automatically tracks full and short file names, providing you flexibility and accuracy in the conform downstream. By tracking filenames as source in alternate columns, it also allows you to change the clip name to something more useful like 32A/3.

Again, worth the 10 seconds it adds to the process.

Michael

[Andrew McCarrick]

The QuickTime exported out of any of these applications only contain a single timecode and the name of the file is your only source reference. Very limited compared to the ALE file which tracks both timecodes, automatically tracks full and short file names, providing you flexibility and accuracy in the conform downstream. By tracking filenames as source in alternate columns, it also allows you to change the clip name to something more useful like 32A/3.

Again, worth the 10 seconds it adds to the process.

Michael

Okay, I think you convinced me...

Now I guess the question is, would it ever be possible to produce an ALE straight from REDCine, without having to do all the steps inbetween (exporting as XML, and converting to ALE). AND somehow tie an ALE to the quicktime file, so it's a one step import (instead of ALE, then batch import).

And actually this was my primary problem from the beginning, not really the ALE itself, but the production of the ALE... a 2 step process, instead of 1.

(Preferably a "Import RED Footage" option in the menu, which opens up a find file window, you find the ALE, and then that Imports, dragging all the material with it, at the same time.)

[MichaelP]

If you use REDrushes you can do it all in one application as well as render directly to the DNxHD data rate of your choice. I cannot answer whether REDCINE will create ALE directly since Avid is not in control of that product development. We work with whatever REDCINE can export, and it is XML - Avid imports ALE, thus the extra step of converting XML to ALE.

Michael

[Andrew McCarrick]

If you use REDrushes you can do it all in one application as well as render directly to the DNxHD data rate of your choice. I cannot answer whether REDCINE will create ALE directly since Avid is not in control of that product development. We work with whatever REDCINE can export, and it is XML - Avid imports ALE, thus the extra step of converting XML to ALE.

Michael

Okay, I don't use MACs so, I guess that's (REDRushes) out... for now (hopefully).

[Jason Diamond]

i suggest you step back, take a breath and really think about everything you are getting into and plan and create a proper workflow whatever that is so you don't want to kill yourself later in the conform, especially since you wont have anyone else to blame because you did it all yourself.