Easiest Way to DPX output?

[flanfan]

Hello everyone,

I'm cutting a short film and we've nearly reached the end of post-production, and our colorist has given specific instructions for what they want from us:

Raw DPX files
Final Cut CMX 3600 EDL (Export from FCP) that has source and record timecodes maintained with tape name in tact, need to ensure that the list is clean so that there are no gaps in it, or in the timecode, In other words, their can't be any spaces.
Broadcast wave file with timecode or at a minimum just a wavefile, however if it has no timecode, this will require us to have a guy here make a dvd of the wave file and stamp it with the timecode so that the fostex can chase the audio on the Lustre.

What I originally did to start the workflow was use RedRushes to create ProRes 422 720p versions of all the R3Ds, but appended the file names with _H so that we could use the Color bug if necessary. I've cut with these 720p files, and now I need to find a way to basically reconnect to the original source files for DPX files, but have those link up with an EDL exported from Final Cut.

The only two methods I can currently think of is exporting an XML from Final Cut, importing it to Crimson, then matching to R3D, exporting DPX, and making a roundtrip XML.. but I'm not sure what I would need to do to from there.

The other method involves exporting an EDL from Final Cut, importing it into Color, and then using the actual proxy files that point to the R3D so that I have access to full-res, etc. From there, I'm not quite sure how I would export DPX or ensure I'm doing it properly.

I should also mention that we have plenty of non-RED footage, including 2k VFX shots that have yet to be implemented into the timeline. So, we also have a mixed-resolution timeline. I'm not sure how to make sure all of this exports smoothly.

Suffice it to say, the intricacies of exporting to formats like DPX elude me, especially when it looks like I may have to leave the Apple Pro Apps ecosystem.

Any help would be tremendously appreciated.

 

[M Most]

Hello everyone,

I'm cutting a short film and we've nearly reached the end of post-production, and our colorist has given specific instructions for what they want from us:...
Any help would be tremendously appreciated.

I think the help you need should come from the person or company who's making these requests, because, quite frankly, a number of them don't make any sense. For instance, there's no such thing as a "raw DPX file." They need to specify exactly what they expect - linear, video gamma, log, Redlog, whatever. Plus it isn't at all clear as to what they or you are doing. Are you expecting to hand them a sequence that's complete? Or are they doing a conform from whatever it is you turn in?

I think the best tool for you would be Monkey Extract, in part because it's capable of producing the DPX files and a conforming EDL in which the folder names agree with the EDL reel and clip names. The non-Red files would likely need to be eye matched to your offline if you don't have a way of doing a file based conform, which you don't if all you have is Final Cut. But in either case, your problem isn't how to make DPX files, it's that you don't have - or aren't sharing here - complete information as to what it is they want.

 

[jake blackstone]

Hello everyone,

I'm cutting a short film and we've nearly reached the end of post-production, and our colorist has given specific instructions for what they want from us:

Raw DPX files
Final Cut CMX 3600 EDL (Export from FCP) that has source and record timecodes maintained with tape name in tact, need to ensure that the list is clean so that there are no gaps in it, or in the timecode, In other words, their can't be any spaces.
Broadcast wave file with timecode or at a minimum just a wavefile, however if it has no timecode, this will require us to have a guy here make a dvd of the wave file and stamp it with the timecode so that the fostex can chase the audio on the Lustre.

What I originally did to start the workflow was use RedRushes to create ProRes 422 720p versions of all the R3Ds, but appended the file names with _H so that we could use the Color bug if necessary. I've cut with these 720p files, and now I need to find a way to basically reconnect to the original source files for DPX files, but have those link up with an EDL exported from Final Cut.

The only two methods I can currently think of is exporting an XML from Final Cut, importing it to Crimson, then matching to R3D, exporting DPX, and making a roundtrip XML.. but I'm not sure what I would need to do to from there.

The other method involves exporting an EDL from Final Cut, importing it into Color, and then using the actual proxy files that point to the R3D so that I have access to full-res, etc. From there, I'm not quite sure how I would export DPX or ensure I'm doing it properly.

I should also mention that we have plenty of non-RED footage, including 2k VFX shots that have yet to be implemented into the timeline. So, we also have a mixed-resolution timeline. I'm not sure how to make sure all of this exports smoothly.

Suffice it to say, the intricacies of exporting to formats like DPX elude me, especially when it looks like I may have to leave the Apple Pro Apps ecosystem.

Any help would be tremendously appreciated.

Is your colorist too busy to do it himself or he's just not that not familiar with the Red workflow? If you would do the transcode to "RAW DPX?" incorrectly, which is pretty easy to do, if you're lucking properly calibrated display, then what do you do then? Are you going to do it again, until colorist is satisfied? Can't you just hand him the original r3d material and the EDL and let him do the work? Oh, I get it, you'll have to pay for this:001_rolleyes: