Hi Everybody
So one of the problems at the moment editing Red footage in the Avid is that the Avid can't read timecode embedded in Quicktimes.
So here is a utility to read the timecode from a bunch of quicktimes, then create an Avid ALE file which can be imported into the Avid. This creates offline clips representing each quicktime (including their timecode etc). You can then batch import the clips, pointing them at the quicktimes.
So this is a method of getting metadata into the Avid from quicktimes.
At them moment it only works with Quicktimes made through RedAlert, not RedCine, because RedCine does not pass the timecode through to the Quicktimes it exports.
Also it is a Mac Avid only solution, because the Red Quicktime component is Mac only.
This really is only intended for an offline/online workflow. But if you are planning to directly edit your final 'online' pictures, then I guess you don't really need timecode anyway.
As quicktimes are generated from RedAlert almost instantaneously, the time taken to get the files into the Avid is limited to the time it takes to import the Quicktimes. On a MacBook Pro Media Composer it takes roughly 6 times real time to import the files into DnxHD 36. Of course this would be quicker on a desktop Mac Pro, and on a big project you could always have several import stations running.
Anyway the utility, MetaCheater [now v1.4], can be found at:
http://www.staticpictures.com/metacheater
There are bound to be issues. Feel free to post bug reports/feature suggestions here but I can't promise to get to them. I'm not a coder, this is just a hack.
enjoy
cheers
-Jabez Olssen
emails to metacheater[at]staticpictures.com maybe responded to :)
----------------
[UPDATE: NEW VERSION - v1.4]
http://www.staticpictures.com/metacheater
Fixed in 1.4:
A bug where MetaCheater would treat Quicktimes running at 29.97fps as if they were running at 24fps.
New Feature in v1.3
MetaCheater now contains a 'Camroll' field. Camroll can be used as a tape source in an Avid EDL. In the RED options you can now have both the R3D's Reel name (ie A001) AND the full filename (ie A001_C001_080402) in the ALE in columns that will be able to be used as EDL source tapes. So you can decide later what sort of EDL you want to make - one that just refers to the Reel name, or one that refers to the full filename. (note: you have to download the special RED16 EDL template from the metacheater website if you want to make EDLs that use the full filename).
There is also now a setting for how the PAL 24 to 25 TC adjust button operates. And a bug was fixed in regards to this feature.
New Features in v1.1
'Avid SD Timecode Adjust' feature. This feature is for Standard Def Avid film projects, in other words projects that are running at 24fps but whose timecode is running at 25 or 29.97fps. If you are in an NTSC film project click 'NTSC' and the timecodes are altered to fit the 2:3 pulldown pattern. Click 'PAL' to adjust the End Timecode, making it reflect what it would be if the timecode was running at 25fps.
Will now remove the new "_F" and "_NA" RedAlert suffixes.
PayPal Donations now possible :)
[UPDATE: NEW VERSION - v1.0]
The ability to add prefixes and suffixes to some columns.
Total duration of all Quicktimes shown in Frames and Timecode (Timecode only accurate if all Quicktimes have the same fps)
The ability to use the filename as the tape name, for easier conforming. (This feature uses the first three sections of the r3d file's filename (ie Reel, Clip and Date) and limits it to 16 characters in order to work with a new Avid EDL template)
'Comment' column changed to 'Comments' in order to show up automatically when imported into Avid.
[UPDATE: NEW VERSION - v0.9]
New Features in v0.9:
The ability to Find and Replace in some columns
A setting to choose between having a VFX column or a DPX column, both work the same way in the Avid.
A setting to choose whether the VFX/DPX count starts at frame 1 or frame 0. It now defaults to 0.
Two new features for RED workflows only:
The first removes the "_H", "_M" or "_P" suffixes that RedAlert adds from the filename and VFX/DPX columns, so that the filename is the same as the r3d file. This is to make conform tracking easier.
The second feature adds the Shoot Date part of the filename to the Tape column to make the Source/Timecode combination more unique.
Bug fix: if you have the VFX/DPX option to 'Convert TC' chosen then it does so when you import the QTs.
Originally Posted by tab32
