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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

RED to Smoke/Flame Workflow ???

A

arythmic

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So we had done a :30 that worked out perfect ...
went from final cut XML to Crimson, to RedCine to DPX to Smoke and thumbs up
HOWEVER ... I am working on a music video right now and WOW am I having a tough time ...

So I get my XML from the editor and I cant get it to work in crimson ... he then gives me a straight sequence but Ver2 XML as opposed to Ver 4 and it works .. KINDA , when I bring it into crimson and export the shots are all off ..
he had done a bunch of speed events, push ins etc and I REALLY dont want to have to eye match all of that ... so with this said

What is the best workflow if you are doing a music video cut in final cut with a bunch of blowups, speed changes, etc etc

thanks in advance
 
I feel for you man. I was under the impression that the XML to Crimson to Redcine to DPX was pretty much a cuts only thing. Is everything timing out correctly except the speed changes and blowups?

I have to ask... was there speed changes and DVE moves on the :30 that translated through Crimson?

Right now I am doing the same thing. The speed ramped shots did not come through the above workflow correctly. I am eye matching those.

One thing we have had to do to get the timing right was a -1 tails in Crimson. That may be fixed now.

Sorry I'm not more help.
 
I will look into that cailyoung .. thanks
Also, we were having serious problems importing xmls into Crimson

we have a ton of speed ramps, resizing in final cut and get errors when importing xml 4s into crimson .. I talked to ian and he had mentioned that I make a "simple timeline" ... however we are still having issues and all I was able to import was an xml 2 ... but when I bring that into redcine, everything seems sort of off ...

any ideas on that ?
 
Autodesk ? DL ? Lustre ?

D20 or D21 or 2K files from ARRI for DL to grade ?

Of course NO RED native files for long players big boys. Bye Bye ......your golden days !!!

Do you agree Jim ?

Stewart
 
animal said:
I feel for you man. I was under the impression that the XML to Crimson to Redcine to DPX was pretty much a cuts only thing. Is everything timing out correctly except the speed changes and blowups?

I have to ask... was there speed changes and DVE moves on the :30 that translated through Crimson?

Right now I am doing the same thing. The speed ramped shots did not come through the above workflow correctly. I am eye matching those.

One thing we have had to do to get the timing right was a -1 tails in Crimson. That may be fixed now.

Sorry I'm not more help.
Click to expand...

The minus one thing is not a bug but a choice I had to make early on to make the Final Cut Workflow work. In the future I'll make it more clear what is happening in the interface.

When Final cut makes speed changes, it renders a new clip and then the in and out points relate to those speed changes. There is no longer a direct relationship to the R3D file. You can see the difficulty there. What I hope to do in the future is read speed changes and then allow those seperate shots to be rendered as complete takes. Unfortunately there is alot of leg work neccessary to get that going.

Reading more complicated xml is also on my list.

Cheers,
IBloom
 
Thanks Ian. Just to be clear, we have been adding the -1 on all cuts on a basic cuts only timeline with no speed changes.

..and by the way: THANK YOU FOR CRIMSON!!!!! YahOOO! Without it I don't know what we would do.
 
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