How is it being done ??

[Harcharan Singh]

Hi,
I was wondering how can one Edit in FCP and then do the final grade and out in Scratch because one is MAC other is Windows?
Is the red footage shared on a SAN network?If yes then which storage is recommended?
Thks
Harcharan

[Christopher Grant Harvey]

Edit the proxy files in FCP > output EDL > Conform the whole thing using your R3D's and the EDL.

[Harcharan Singh]

What about storage?On FCP machine do we have to have the R3D's files also or just the proxy files and can you give me some worflow details?
Thks in advance.

[Sean R.]

When using the 'proxies' the R3D's must be present as well. The 'proxies' are only references back to the native files.

[Harcharan Singh]

Hi,
Thant

[Harcharan Singh]

Hi,
That means same amount of storage is required on FCP Mac and Scratch Windows machines..How much storage for a 30 hour footage is required and which is recommended storage?
Thks

[Blair S. Paulsen]

Not sure if this will suit you but here is my approach.
Hook up RedDrive to Mac, copy data. After copy is completed I take the same RedDrive and hook it up to the PC and copy the data. I now have two independent copies of the data and in most cases I consider that sufficiently backed up and return the RedDrive to set.

Use proxies in FCP for editorial, then create a CMX 3600 EDL, put it on a USB stick which I then plug into the PC that hosts Scratch.

I also have a GigE network that allows both the Mac and PC to access each others local storage. I decided not to set up an actual SAN as I prefer not to hassle with such things unless necessary - personal preference.

[Harcharan Singh]

Hi,
Which hard drive or Hard drive raid are you using?
Thks
HS

[JD Marlow]

You don't need to edit with Proxies to maintain the correct TC and Metadata with Red footage. If your project is longer than a commercial, most systems have a hard time editing effectively with proxies.

If you transcode to anything else for offline (ProRes, for example), you can still generate a correct EDL either through FCP or Monkey Frame and take that to Scratch for your R3D conform.

Depending on where you want to end up, Glue Tools now allows you to take DPX files in and out of FCP without going to another app.

[Michael Cioni]

I agree with JD-
Editing with Proxies on feature films will severely inhibit realtime performance -even on Quad Cores. It also makes the rendering processes, exporting and multi-clipping functions very slow and cumbersome.
In my experience, Final Cut Pro and Quicktime transcoding is the most streamlined path and probably the most popular on this forum. I also recommend transcoding to Prores SQ, which will be 66% smaller than the Redcode 36, so you need 1/3 the storage capacity to edit with as the original R3D source files.

Upon completion of the offline, an EDL can be extracted from FCP and imported into Scratch. Scratch will need a soft-mounted copy of the R3Ds to reference the media and match the cut.
At PlasterCITY, we have successfully conformed close to 100 projects in Scratch with this workflow (4K, 2K and HD), but there are some limitations to the complexity of an EDL list which CMX3600 protocol cannot correctly interpret. This often means a job must go through a 2nd conform pass to interpret issues in the list from FCP that are not translated into Scratch.
Recently, we have moved from Scratch to Pablo for our R3D conforming because we developed a way to read FCP XML timeline metadata in Pablo (ie. multiple video tracks, composites, keyframes in the Motion Tab, speed effects and complex transitions). This has eliminated much of the time and complexity of conforming as well as the need to rebuild FCP transitions, etc.
Either way, the OS platform of your conform tool can be arbitrary since the tool likely can only read a basic list (CMX3600). However, newer tools taking advantage of the Red SDK are going to improve the overall process of conforming and limit what is often lost in translation.