Avid native R3D support...

[MichaelP]

Michael can you please say a word about the tearing problem when working specially in fullscreen playback mode only via graphics card. For me which is only working filebased is a mojo dx not really a must.... would be great if this is resolved in MC5 as well....

The MXO2 Mini is supported in v5 so that file based workflows can work with HDMI or analog component monitoring without the tearing seen on full screen play.

Michael

[MichaelHalsell]

Does Avid have an release ETA on Media Composer 5?

[Christian Berg]

I heard june 10th at the Supermeet tonight.

[Notis Benos]

Here 's a podcast at Avid Events Rewind, at 15:00 you can see how MC 5 handles Red footage. There 's also FLUT™™™.


And another video from youtube, at 1:33.

[joe hedge]

Here 's a podcast at Avid Events Rewind, at 15:00 you can see how MC 5 handles Red footage. There 's also FLUT™™™™.


And another video from youtube, at 1:33.

In neither of those demos do they actually show full-framerate playback of R3D's. In the one shot in the first demo where he does hit "play", the shot being played back has no motion in it - it's a static shot of a building! So how can you tell if or how well it plays back?

[Gavin Greenwalt]

People with the talent to do all of those considerably different things well.

While I strongly agree with this sentiment the more things you can do well yourself the better people you can hire.

If you are working on an independent project and can only afford 30 hours of work I would rather do the things I can do pretty good and then save my finite resources for those who can do an exceptional job.

I've seen what happens when there isn't enough time in the budget for more than a quick pass by a colorist, often my internal pass, while probably taking twice as long looks comparable or a little better. If I'm going to pay a professional I want to have the resources for them to do it right, otherwise I'm just paying them for speed.

The more you can do yourself, the more you have in your budget to pay for the really hard stuff. I've also found that on both sides of the session it's always useful to have examples. The more reference a client can give the quicker I can give them what they're looking for. The more accurate of a roughcut I can hand off the less back and forth there is to get what I'm looking for. It creates a good starting point for the discussion instead of starting from scratch. You might be starting from scratch but at least you can provide a direction you want to take it. Sometimes you just have to explore a bit to figure that out yourself. But it's easy to burn a lot of $$$ 'exploring' options.

[D Evans]

In neither of those demos do they actually show full-framerate playback of R3D's. In the one shot in the first demo where he does hit "play", the shot being played back has no motion in it - it's a static shot of a building! So how can you tell if or how well it plays back?

Yeah...be careful here guys...

My personal Avid (Media Composer 4) system works really well with the P2 mxf material I shoot. Usually its 720 @25P using the AVCi 50 Codec. I can even edit straight off the P2 card if I want.

I built the 2.4Ghz Quad core system myself and so its isnt the official Avid approved platform, but as I say, all works really well - even when editing from and external firewire drive that is far slower then my inbuilt 200Mbps striped pairs . I was therefore very surprised when the same workflow didnt work at a facility with Avid approved HP dual core 3.4Ghz kit running the same software - it just jittered and choked. I even bought my firewire drive in to try - in case it was some ISIS (server) issue. It wasnt - it just wasnt workable. I dont know why it doesnt work but can only guess its down to my Vista 64 v their Win XP or maybe a RAM issue (mine is 8Gb, theirs less than half).

So, they have to transcode the AVCi 50 to DNX 120, which is a bit bonkers really to make it all work. That is NOT the point of filebased for me.

SO - hang on and check!!!

Meanhwile Go Avid! Nice to see them trailblaizing - its by far my preferred editing product for workflow and anything complex/layered (and I do use fruit products too ;) )

D

[nigelsmith]

Fantastic news for all of us Avid/Red users.
Here's hoping we can get yellow/green mode realtime playback working with a Matrox mini for tear free 1080p monitoring. It would save me all the hassles of offline/online conforming complex sequences.
Roll on 10 June!

[Brian Shephard]

So...I can now view/edit the .r3d files in realtime using AMA. Of course, I would copy the .r3d files to a separate drive to backup and load them using AMA. When I start editing, is it destructive to those files? When do I transcode? Do I edit first, and then transcode my edited show? If I shoot in 2k or 3k but need to deliver in 1080p QT, what is my workflow? Just edit using AMA and then export? I assume the long transcode happens then...this is where the RedRocket comes into play?

[Stefan Christou]

Hi Brian, I'm not talking from Avid but whenever you edit in a non-linear system you are never writing over your source material with whatever you cut, so it is always non-destructive. I personally would want to 'consolidate' my media at some point after linking using AMA so that the data is being stored in Avid's library rather than in a location of your choosing which might end up moving by accident.

In my experience of AMA in Media Composer 3 you never need to transcode while editing, so I assume this would be the same in MC 5 and that includes with Red footage. As I said before you might want to consolidate your media, but that just means MC creating an exact copy in your Avid library and takes only as long as your drives do moving the data.

Your workflow would depend on your equipment, budget and requirements. Which means you could edit, colour correct and create titles and effects then transcode from MC. Or perhaps edit then export an xml for taking with your media to an Avid DS suit (or other compositor/finisher) where you can do more advanced colour correction and compositing, then transcode to 1080p QT. If you had the right bits you could also output to a deck if the show wants the media on a Sony Professional Disk for instance.