How to do Avid > Monkey Extract > DPX > CC > Avid?

[Scott Dominick]

We're going to be doing an online that involves sending DPX files out of house, having them color corrected and having some sort of files returned to us.

I'm aware of DS workflows with Avid, but not familiar with what needs to be done for an Avid to DPX to Avid Workflow.

What I know is this...

We're cutting in Avid Media Composer 3.5.1. Then we'll use Film Scribe to generate an XML. Then we'll use that XML in Monkey Extract and create DPX files for use in some Online Editor -- not sure which one. The color correct will happen and I'm not sure what type of files to ask for. Should we just get uncompressed QuickTimes with the same names as the originals? Then throw the old media offline and do a new batch import?

Thanks,
Scott Dominick

 

[jake blackstone]

We're going to be doing an online that involves sending DPX files out of house, having them color corrected and having some sort of files returned to us.

I'm aware of DS workflows with Avid, but not familiar with what needs to be done for an Avid to DPX to Avid Workflow.

What I know is this...

We're cutting in Avid Media Composer 3.5.1. Then we'll use Film Scribe to generate an XML. Then we'll use that XML in Monkey Extract and create DPX files for use in some Online Editor -- not sure which one. The color correct will happen and I'm not sure what type of files to ask for. Should we just get uncompressed QuickTimes with the same names as the originals? Then throw the old media offline and do a new batch import?

Thanks,
Scott Dominick

What's your deliverables?

 

[MichaelP]

Is the color correction pass also include a conform? If so, what's the return to Media Composer for? As Jake asked, what's the final delveriable>

 

[Scott Dominick]

I believe the deliverables will be DigiBeta. We're going to transcode to SD and lay off our masters from there. The reason to go back to Avid is because we're doing the conform there. This is a music video so the audio is already mixed per se. We just need to match the new corrected footage with the old footage.

 

[MichaelP]

The step by step guide speaks to a relink workflow. Have you looked at that yet?
www.avid.com/red

Michael

 

[Igor Ridanovic]

The Monkey takes an EDL, not an XML from FilmScribe. That simplifies the process. Make sure you download the 16 character EDL template from Avid.

Export the DPX files from the Monkey, import to your DI box of choice and that's that.

All DI machines now support either native or direct R3D so you may not even want to generate the DPX files.

 

[Scott Dominick]

I believe Monkey Extract allows for XML from an Avid now.

http://www.rubbermonkeysoftware.com/support/monkey_extract/red_workflow/avid_dpx.asp

Either way my concern is that when I use monkey extract and create dpx files with handles that once color corrected and re-exported from my online editor the QuickTimes won't reimport back into Avid correctly. My workflow requires that I go back to Avid once done color correcting. I understand how to get to the online editor, but not how to round trip.

Also, I believe we will be using an Autodesk product that doesn't have native r3d support (at least their version doesn't)

Perhaps, I'll have to look at Michael's suggestion and see if it answers my question.

I'd rather not have to match cut everything back into my sequence, but that might be one of the only ways to do this.

Thanks for your help guys!

Regards,
Scott Dominick

 

[MichaelP]

If you can get original tape name and timecode as an ALE from the DPX into an Avid supported format, you can relink very easily.

Michael

 

[jake blackstone]

I believe the deliverables will be DigiBeta. We're going to transcode to SD and lay off our masters from there. The reason to go back to Avid is because we're doing the conform there. This is a music video so the audio is already mixed per se. We just need to match the new corrected footage with the old footage.

I don't understand the logic. If you created an EDL, you can conform it with Monkey Extract or MetaFuse (ALE) or Crimson (XML), export DPX and take it into Lustre for grading. By then it will be fully conformed and you can even import the sound for confidence playback check. You can grade it and output it directly to DigiBeta from Lustre. Why do you need to come back to Avid? Your colorist should be able to take care of this very easily. All I require from my clients is an EDL and r3d files.

 

[jake blackstone]

I believe Monkey Extract allows for XML from an Avid now.

http://www.rubbermonkeysoftware.com/support/monkey_extract/red_workflow/avid_dpx.asp

Either way my concern is that when I use monkey extract and create dpx files with handles that once color corrected and re-exported from my online editor the QuickTimes won't reimport back into Avid correctly.

Also, I believe we will be using an Autodesk product that doesn't have native r3d support (at least their version doesn't)

I'd rather not have to match cut everything back into my sequence, but that might be one of the only ways to do this.


Regards,
Scott Dominick

It is possible to preserve the naming convention, file structure and the original time codes on graded material for the roundtrip, if necessary. You can get back any type of video files including a number of uncompressed ones. Just pick one. I don't understand why you'd have a problem reimporting them. As long as they are correct REC-709 type, you should be fine...

 

[MichaelP]

The essence is not that much of a concern, it's the consistency and persisence of the metadata (nameline tape name) that will save a lot of eye matching.

Michael