REDCINE to SCRATCH to Tape....

[AlienFX]

I'm trying to find a way to cut 4k footage from the RED ONE, in Avid. The thing I came up with was going from REDCINE to SCRATCH, from there going off to a Sony HDCAM SR Tape and then digitizing into Media Composer for the Offline (DNxHD 36) and then the Online in DS Nitris at 1080P. Now is there any way to get that Avid DS Nitris Project off to another editor to bring me back to full res.? Could I some how pull something (edl, ect.) in the Avid project to Scratch and have Scratch recompile the cut? I'm working out the post workflow for my feature film. We're looking at purchasing about 12 Red Cameras (so we can get upto 4 on three sets at one time, making set transitions quicker); but without a practical post route for Avid, I'll be forced to go with the Sony F23.

[Terry Wester]

I'm trying to find a way to cut 4k footage from the RED ONE, in Avid. The thing I came up with was going from REDCINE to SCRATCH, from there going off to a Sony HDCAM SR Tape (with actual timecode) and then digitizing into Media Composer for the Offline (DNxHD 36) and then the Online in DS Nitris at 1080P. Now is there any way to get that Avid DS Nitris Project off to another editor to bring me back to full res.? Could I some how pull something (edl, ect.) in the Avid project to Scratch and have Scratch recompile the cut? I'm working out the post workflow for my feature film. We're looking at purchasing about 12 Red Cameras (so we can get upto 4 on three sets at one time, making set transitions quicker); but without a practical post route for Avid, I'll be forced to go with the Sony F23.

You will not need the REDCINE step, Scratch will load the .r3d files native. Not sure about the rest.

[Cüneyt Kaya]

http://www.reduser.net/forum/showthread.php?t=6059


avid DNxHD quicktime
and
http://www.reduser.net/forum/showthread.php?t=4756

[Brenton]

As it stands the current Avid workflow is not as ideal as that of FCP.

However to say "there is currently no practical post-production solution for Red" is a little limited in thinking IMHO especially given we're still only 3 months since camera release, have 100 cameras worldwide and less than 1 week since RedCine was made available.

Also given you were wanting to purchase 12 cameras means you must be prepared for a wait, in which case the workflow should have improved.

Yes the F23 will fit right into any current workflow but so will the RED with a little bit of tweaking at the moment. If you can't be bothered tweaking, then you've made the right decision.

Enjoy your F23 :)

Regards,

B

[MichaelP]

There is a lack of metadata export at this time for file based or tape based workflows - whether that be coming from RedAlert! or Redcine. Digitzing a tape will give you timecode (and hopefully the source timecode, but I suspect you are getting the construct timecode created in Redcine). Once metadata is exported, then both workflows will become easier. I realize that the camera is still in its infancy, but metadata extraction has to go hand in hand with the essence to have a solution on which workflows can be built.

Michael

[Brenton]

Agreed that the metadata path needs improvement at the moment.

One possible work path is to load the camera/RedAlert generated QTs onto a timeline in FCP that matches the Camera Timecode, burnin in the Time of Day Timecode in FCP (as FCP reads the metadata from these QTs) and output to tape for offline. Then when the assistants load the footage in Avid they can do the normal logging, syncing and input the Time of Day data into an Aux TC or DPX TC channel.

I use FCP in this workflow as I don't have a Scratch system to test on :)

Regards,

B

p.s. I assume you've seen the Scratch PrePost system?
http://www.reduser.net/forum/showthread.php?t=6043

[Jeff Brue]

There are much easier ways involving much less render time.

QT wrapper transcode to Avid DNxHD 36 or higher
MetaCheater Quicktime meta data to Avid ALE
Relink and fast reimport Avid Quicktimes
Export EDL to Scratch and Render DPX selects for AVID DS NITRIS timecode and reel information is maintained.

No burn in needed and the only cost instead of an HDCAM-SR deck is render time and Compressor on Intel Macs, figure needing about 5 quad intel machines for a feature dailies pipeline.


What no one talks about is that in scratch to do that final DPX render or what you would need to create those HDCAM-SR's its crrenttly 10:1 ie a 2 hour project will take 20. Imagine doing your dailies this way.

[Jeff Brue]

Also on a side note just for the color experiance...as far as DI workflow we've had much better luchk with scratch than anything else as far as being able to manipulate the imagery.

[Mark L. Pederson]

Also on a side note just for the color experiance...as far as DI workflow we've had much better luchk with scratch than anything else as far as being able to manipulate the imagery.

What he said.

[Mark L. Pederson]

There are much easier ways involving much less render time.

QT wrapper transcode to Avid DNxHD 36 or higher
MetaCheater Quicktime meta data to Avid ALE
Relink and fast reimport Avid Quicktimes
Export EDL to Scratch and Render DPX selects for AVID DS NITRIS timecode and reel information is maintained.

Amen.