Thread: Avid to Color - step by step

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  1. #1 Avid to Color - step by step 
    A super easy workflow from Media Composer to Apple Color via an EDL.
    Tested with Color 1.5. (This is an EDL workflow so obviously it's for cuts and dissolves only).

    1. Preparation.
    • Use your favorite metadata rich workflow for dailies.
    • MetaFuze (MXF), RocketCine-X (MXF), Redcine (ALE), MetaCheater (ALE), RedRushes (ALE)
    • As long as you track the R3D filename and the TOD timecode it works.

    2. Edit
    • Cut the show in Media Composer.
    • Impress the client.
    • Lock the cut.

    3. Prepare for EDL Export (This is the key step in the workflow)
    • Make a copy of the sequence and put it in a new bin.
    • Set Bin Display > Show Reference Clips
    • Duplicate the R3D filename from column Tape to column Name.
    • If you used MetaFuze v2 for step 1 then duplicate column Camroll to column Name

    4. Export EDL
    • Make sure that you have installed EDL Manager.
    • In Media Composer choose Output>EDL or launch EDL Manager
    • In EDL Manager choose the regular CMX 3600 as the EDL template.
    • In the Comments tab select Clip Name. (Color ignores if Reel is wrong and uses Comment instead)
    • Update.
    • Save the EDL.

    5. Import EDL and RED Media in Color
    • In Color choose File > Import > EDL...
    • Navigate to the EDL and open it.
    • In the dialog box choose the proper framerates and frame size for your project.
    • For Source Directory navigate to the root folder of your R3D files.
    • Click Import.

    Done.

    When you have finished colorgrading use File > Send to > Final Cut Pro and take it from there
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  2. #2  
    Nice one Jörgen! Saved for future reference. -=)
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  3. #3  
    Senior Member Tom Gough's Avatar
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    Thank you for sharing Jörgen :)
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  4. #4  
    Will give it a shot. Thanks for the information. Cool.
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  5. #5  
    it worked!!! thanks man.
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  6. #6  
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    Hi,

    Thanks for this guide!

    Would someone be able to post an EDL they have created using this method so I can compare my own?

    I do not have access to a machine with color right now to test this method, but a copy of your edl would help me figure out if I have done the export correctly.

    Actually, here is a copy of my EDL as well, so you can tell me if it's looking like how it should.

    TITLE: AVIDTOCOLORTEST_SEQ
    FCM: NON-DROP FRAME
    001 A003_C06 V C 22:02:48:10 22:02:51:07 01:00:00:00 01:00:02:21
    * FROM CLIP NAME: A003_C063_0905PX
    002 A003_C25 V C 02:06:45:09 02:06:45:14 01:00:02:21 01:00:03:02
    * FROM CLIP NAME: A003_C259_090763
    003 A003_C13 V C 15:40:54:03 15:40:56:17 01:00:03:02 01:00:05:16
    * FROM CLIP NAME: A003_C136_0906QL
    004 A003_C13 V C 15:40:57:19 15:40:58:08 01:00:05:16 01:00:06:05
    * FROM CLIP NAME: A003_C136_0906QL
    005 A003_C13 V C 15:41:00:03 15:41:01:03 01:00:06:05 01:00:07:05
    * FROM CLIP NAME: A003_C136_0906QL
    006 A003_C07 V C 22:25:57:21 22:25:59:00 01:00:07:05 01:00:08:08
    * FROM CLIP NAME: A003_C074_0905HK
    007 A003_C25 V C 02:06:48:17 02:06:50:14 01:00:08:08 01:00:10:05
    * FROM CLIP NAME: A003_C259_090763
    008 A003_C07 V C 22:25:58:21 22:25:59:20 01:00:10:05 01:00:11:04
    * FROM CLIP NAME: A003_C074_0905HK
    009 A003_C16 V C 17:38:50:23 17:38:53:18 01:00:11:04 01:00:13:23
    * FROM CLIP NAME: A003_C163_0906TR
    010 A003_C16 V C 17:38:53:18 17:38:53:18 01:00:13:23 01:00:13:23
    010 BL V D 048 00:00:00:00 00:00:02:00 01:00:13:23 01:00:15:23
    * FROM CLIP NAME: A003_C163_0906TR
    Thank You very much!
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  7. #7  
    Senior Member MichaelP's Avatar
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    The only drawback to this is the editor having to work with weird names rather than 1/1 (scene 2 take 1) for example. I would suggest the above workflow on the locked picture version and overwrite the NAME with R3D name before generating EDL. I would also suggest duplicating the NAME column into backup custom column to not lose that valuable information.

    Or, Apple color could just support a 16 character EDL... ;)

    Michael
    ‎"There are a thousand ways to point a camera, but really only one."
    Ernst Lubitsch
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  8. #8  
    Quote Originally Posted by MichaelP View Post
    The only drawback to this is the editor having to work with weird names rather than 1/1 (scene 2 take 1) for example. I would suggest the above workflow on the locked picture version and overwrite the NAME with R3D name before generating EDL. I would also suggest duplicating the NAME column into backup custom column to not lose that valuable information.

    Or, Apple color could just support a 16 character EDL... ;)

    Michael
    When I created the step-by-step workflow, I had just finished editing a short film and I needed to get that into Color in some way. In Media Composer I had used Scene/Take and other useful information (like CU, MS, Steadi and so on) in the Name column. While I was experimenting I actually copied Name to a backup column as you suggested above, just to be on the safe side.

    But for clarity I left that part out of the step-by-step guide. It is intended as a workflow for a locked picture going into a grading session.

    And I agree that reel information in Color could be better. I mean, how hard could it be to implement?
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  9. #9  
    Wow! cool way.

    congrats and thanks!
    "¿Render?... beer time!
    two Epic-X, 24"FSI 10bits, 50"Panny, Some computers; Work as Colorist, DIT and Tech Counselor.
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  10. #10 Extra Tip - Also Easy Avid Into FCP 
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    One thing i've been doing is adding _F.mov/_M.mov etc to the clip names in the edl with a text editor, importing the edl into FCP and reconnecting to the QT proxys.

    Gets your sequence into FCP, then you do what you like with it.

    I've been to doing this to conform and essentially neg pull my Avid edit.
    Also I can afford HD-SDi monitoring for FCP and not Avid (when will they release an affordable i/o for HD!!!!!)
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