What should I output?

[Brett]

Hey guys, I have a noob question for the experts here. I did an off line cut on an express pro machine on low res files, and am about to do the retransfer of the red files to be onlined on a nitrous DX. Then my DP will be doing a color pass on a FCP color set up.
My question is, what should I output from redcine? My thoughts are to output uncompressed HD to do the online reconform in the nitrous, then make an uncompressed HD file of the timeline to bring into FCP. Do you guys have any thoughts, or better ideas I might want to try? Thanks in advance.

 

[Igor Ridanovic]

The way you would bring it into Symphony Nitris DX kind of depends on how you brought the files into the Xpress Pro.

Also, your Symphony has a more full featured color corrector than FCP.

 

[Greg Huson]

Hey guys, I have a noob question for the experts here. I did an off line cut on an express pro machine on low res files, and am about to do the retransfer of the red files to be onlined on a nitrous DX. Then my DP will be doing a color pass on a FCP color set up.
My question is, what should I output from redcine? My thoughts are to output uncompressed HD to do the online reconform in the nitrous, then make an uncompressed HD file of the timeline to bring into FCP. Do you guys have any thoughts, or better ideas I might want to try? Thanks in advance.

Do you mean DX or DS? Two very different workflows. I'm assuming you mean DX- if it's a Symphony DX, no reason to go to FCP Color from there. Even Media Composer can be pretty useful for color correction if you're not trying to do much extreme. DS uses the SDK and can access the .R3d's directly, so that's a completely different methodology, and definitely no need for FCS anywhere it that workflow.

I'll assume you've already got the audio handled.

If you have a lot of source footage, I like Monkey extract. You make an EDL
(one for each track of video, try to flatten your sequence as much as possible, but make any effects except dissolves as 'layered' effects. ) Monkey extract uses redline to render just what you need, with handles. If your drive is fast enough, and you've got the space, you can use uncompressed, otherwise, DNX.

I think there's also a way to render your timeline in preparation directly for Color, but I have not used that workflow. I recommend that you go to Avid.com/red and look at the various workflows (which won't include Color, I'm guessing) to give you more ideas. Depending on the length of your project, do a single scene or short test sequence to validate your workflow since you're mixing 3 or 4 pieces of software. Reframing is not practical in redline- then you might consider Crimson for your work- it gets you in and out of RedCine, which is great for reframing shots. Don't know much about that config. There's also a way to use a filmscribe xml to go into redcine. Plenty of options.

Why the hell anyone is using express when the upgrade to the current version of composer is, like, $500, is beyond me... but that's another thread...

 

[M Forrest]

>>Do you mean DX or DS? Two very different workflows.<<

Thanks for making everything so clear Avid :confused1: They have some very bright people over in Tewksberry, but whoever named the "Nitris DX" was out to lunch. I mean c'mon, there are other letters in the alphabet that don't sound so similar.