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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 :)

Avid Media Composer or FCP???

You say AVID doesn't support 2K, just 1920P.
How does that work with all the cinema's in the world who have a 2K digital projectors?

Are there plugins that allow 2K editing? Or how about 3K size RAW editing for an ARRI D21?
I know the difference is small between 1920 and 2K, but not small enough to ignore. 128 pixels (6.25%) Not to mention the height issue. 1920 is set at 1080 height. But what if you'd want it to be larger or smaller than 1080?

Does anyone have an answer or preferably a solution to this?
Thnx.
 
"You say AVID doesn't support 2K, just 1920P. How does that work with all the cinema's in the world who have a 2K digital projectors?"

A lot of 2K isn't. A film mastered to SR is only 1920x1080. The size that ends up on a print is less than 1920x1080. For instance, 'Shine A Light', the Stones concert film was shot with 35mm film and Genesis, mastered to SR and conformed to SR. From those masters 35mm prints and uprezzed IMAX prints were released. 2K projectors can take other input sources, including Blu-ray playing at 1920x1080.

"Are there plugins that allow 2K editing?"

Not with Media Composer or Symphony. DS can handle 2K if you are talking about a finishing solution, rather than a creative cutting tool.

"1920 is set at 1080 height. "

Films shot with Sony F900s for example, but cropped/scaled for other wider aspects are often only about 700 or 800 pixels in height. For example, 'Star Wars, Episode 1'.

- Oliver
 
Hi
I'm a novice but have edited 3 movies (one 70 minute and 2 shorts) using P2card footage with Avid Media Composer software. Our D.P. will be using a RED camera on our next project. What should I use to view the footage in the field and then how do I get the raw footage into Avid Media Composer to edit it?
Thanks for your help, Barbara
 
Barbara_Sundstrom said:
Hi
I'm a novice but have edited 3 movies (one 70 minute and 2 shorts) using P2card footage with Avid Media Composer software. Our D.P. will be using a RED camera on our next project. What should I use to view the footage in the field and then how do I get the raw footage into Avid Media Composer to edit it?
Thanks for your help, Barbara
Click to expand...

Are you using Media Composer on Mac or PC?
 
Christoffer Glans said:
No, I say try both choose one. Don't say that I miss the point when you do the same.
POV's aren't very useful for his choice, if you haven't touched Avid for 10 years, how can you give him insightful info and support in his choice?




That is both true and not true; RAW doesn't have 4:4:4 or 4:2:2, but if you render out footage in 4K it becomes that, you can't get 4:4:4 and 4K out of an R3D file.
You need the debayering process down to at least 2K to manage it.
.
Click to expand...

So if I debayer a R3D to a 4K dpx seq or 16bit tiff its not 4:4:4 ? i beg to differ on that one. 4:4:4 is RGB or no chroma subsamples which is exactly what I would have just transcoded to. No ?

Or are you talking about the redraw compression here in the mix? which is fair enough.
 
SDV said:
You say AVID doesn't support 2K, just 1920P.
How does that work with all the cinema's in the world who have a 2K digital projectors?

Are there plugins that allow 2K editing? Or how about 3K size RAW editing for an ARRI D21?
I know the difference is small between 1920 and 2K, but not small enough to ignore. 128 pixels (6.25%) Not to mention the height issue. 1920 is set at 1080 height. But what if you'd want it to be larger or smaller than 1080?

Does anyone have an answer or preferably a solution to this?
Thnx.
Click to expand...

Sure. It's called a conform, which is the way virtually every digital intermediate is done.

What you use for creative editorial is not normally what you use for a theatrical delivery in the professional world. Offline editorial followed by an online conform is the "normal" way of working unless your only delivery is in an HD video format. That's not necessarily the case around here, but it is absolutely the case in professional finishing facilities.
 
Jörgen Persson said:
Definitely Avid.

Avid also tracks both types of timecodes that Red generates and other metadata in the R3D file. This is great for projects that will end up in a facility with different finishing tools.
Click to expand...


I would like to correct you that with Metafuze based workflow you can only get one timecode and not two!
 
Mac v PC

Mac v PC

AndyHV30 said:
Not to create another debate, but if one were to go with Avid, would one be better off going with a windows platform, or a mac platform?
Click to expand...

Going back to page 4. That's a good question.

Frankly I don't know the answer.

It seems NVIDIA cards are PROBABLY best for using with Avid as it extensively supports Open GL (hence why it is so lightning fast). Which might point to using a PC cos apparently the NVIDIA cards don't play well with OSX.

There was also talk that AMC 3.5 was fastest on Vista 64. Since you might also want to use Final Cut, going with a Mac might be best, but there is a German company that sells USB sticks that let you run OSX on a PC, where you have the POTENTIAL of a faster system.
 
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