Avid News On Red

[TCurren]

Michael, for a feature film shot with RED, is there any way (currently) to use Avid to edit? Is MetaFuze the only upcoming solution?

Metacheater would allow you to use imported QTs with metadata as a workflow.

Or, in theory, you could open your QT reference files in FCP, cut into timelines, output to tape and create a "flex" file with Cinema Tools that you could then use in Avid. (Think traditional film workflow here)

The real question is why? If you are going to finish in 2K or 4K, you would probably be going to Scratch or a Pablo. These are EDL based workflows for the most part so why not just offline edit in FCP with the QT ref files and save time and hassle?

 

[BASSAM MSSALATIE]

And he edited on FCP

Change his car ...!!. ??? very good step:biggrin:

 

[BASSAM MSSALATIE]

Or, in theory, you could open your QT reference files in FCP, cut into timelines, output to tape and create a "flex" file with Cinema Tools that you could then use in Avid. (Think traditional film workflow here)

why this loop closed circle :wacko: just go with FCP

OR :matrix:

so why not just offline edit in FCP with the QT ref files and save time and hassle?

 

[Jason Wingrove]

Metafuze was announced last year and is not going to be ready till mid year?
maybe more than one person should be working on it? :sarcasm:

 

[Michael Lindsay]

Metafuze was announced last year and is not going to be ready till mid year?
maybe more than one person should be working on it? :sarcasm:

They probably have them all working on Liquid or whatever it is called..

MILD RANT

I love telling stories on Avid.. Most people I know like telling stories on Avid (but most of them will make positive sounds about FCP if a producer wants them too).. But this may be the last year I use Avid because of their refusal to either want to define the market or at least follow Apples lead...Every frame of mid quality and up video and film needs grading THEY HAVE NO SOLUTION.. their really old, but pedestrian useful, symphony tools need to be put in all their products and they need something high end! I'd be happy to pay a small fortune to have something like Color for Avid (Apple gives it free)

With nearly twice as many Red cameras sold as F900 ..This despite the fact you still can't really buy a Red camera in a traditional way.. Many of these Red cameras will soon start to really work (producing lots of content) and Avid users will be waiting and watching....

Where is the big Feb 8th announcement that Avid promised.... ? You think 'metafudge' will really arrive mid year? Where is uncompressed for MCA that was promised many mid years ago?

Michael

 

[Jason Wingrove]

Go Mike!
I can see what my editors need and its just not there with FCP so they stick with avid as its still much quicker, when you need that faster than lighting revision while the room is filled with creatives and clients and your making changes before the director has even finished his sentence and ALL with keystrokes thats where Avid excels.

However its not because avid is so great that its popular, for many people there just isnt an alternative.....Sometimes politicians win elections not because they deserve it, but because no one wanted the other guy in.

(I use fcp myself)

 

[David Birdy]

MichealP

Any time table for Meta-fuse?

Thanks

David Birdy

 

[Dylan Reeve]

Avid are making very positive moves toward RED, but at the moment they are as hampered as anyone else with RED, they simply can't get access to the format yet.

Once they can, I expect there will be some delay, but I think their support will be good and seamless.

FCP is great, but there are still some very serious failings from my perspective. The most major being Media Management. Also input and output has issues (in some cases I simply cannot edit to tape, I get 'General Error (88)' and nothing more). Beyond those things, it's good, but they are major and fundamental problems, and I find them much more frustrating than Avid's usual 'slow and steady' approach.

I am doing offline cutting of RED footage in Avid and it was painless and quick. The biggest problem will be building a list for online from that cut, but I'm will to fiddle a bit with that.

In FCP, while I can get the clips in, I can't get the to play in realtime on a timeline under any circumstance (no matter what timeline settings I use).

 

[Jason Wingrove]

LOL 'Playback Mag' thought it was a new peice of kit... nearly had the saliva going :sarcasm:

Athey simply can't get access to the format yet.

Once they can, I expect there will be some delay, but I think their support will be good and seamless..

So Avid workflow is being hampered by Red? Avid are just waiting for "access to the format" this cant be a boardroom delayed problem???

 

[Dylan Reeve]

So Avid workflow is being hampered by Red? Avid are just waiting for "access to the format" this cant be a boardroom delayed problem???

Well, not hampered, but RED isn't opening their format up yet... Sometime after NAB 2008 is when I believe RED will be letting others in on it all.

 

[Jason Wingrove]

groaaaaan.

 

[Gavin Greenwalt]

[...]This may be the last year I use Avid because of their refusal to either want to define the market or at least follow Apples lead...Every frame of mid quality and up video and film needs grading THEY HAVE NO SOLUTION..
Michael

1) Since when was color considered a production ready 'solution'.
2) What good is color if you don't have a colorist.
3) What said colorist doesn't have a grading station that loads an EDL.

Color still sounds like a marketing gimmick if you ask me. "Now with grading!"

 

[Michael Lindsay]

1) Since when was color considered a production ready 'solution'.
2) What good is color if you don't have a colorist.
3) What said colorist doesn't have a grading station that loads an EDL.

Color still sounds like a marketing gimmick if you ask me. "Now with grading!"

I looked at FT before it became Color and I wasn't happy... it wasn't so far of though and Apple could knock it into shape...

An Edl is not enough for modern programme making.... Look what Discreet can do with Lustre..
Filmlight and Digitalvision's efforts with Avid are promising too...

If grading is simply bashing through and hour of shit telly trying to make it not look like it was not shot by assistants with Z1s then an EDL is fine...

For me grading will have to sit tighter with the whole conform stage (or be the conform stage).. Avid could have owned it but didn't seem to have the vision...

I might be wrong and am waiting for their big announcement...

I love Avid editorial and want my small production company to stay Avid...

Michael

PS question 3: All the freelance guys!

 

[Dylan Reeve]

For what it's worth I find Avid colour correction much more integrated with the timeline than Apple Color.

At present with Color it's recommended that most effects are stripped of the timeline before processing, and once you're done you don't end up with a timeline containing new colour correction metadata, you end up with a timeline with entirely new rendered media.

Avid could certainly benefit from improving the colour correction in Xpress and Media Composer, but Color is far from the ideal solution.

For most grading an EDL is a very good start.

I'm still holding out a lot of hope with Avid, because for professional TV work I find many aspects of FCP to be almost unusable. I like what FCP can do, but I certainly wouldn't want to edit a series on it, and I'm still a little iffy about onlining on it.

 

[Michael Lindsay]

Sycophant

I agree nearly completely...

Maybe if we hold out hope together :help: Avid will amaze us..

Moving from a MC ofline to a Symphony Online is near 100%... Give Symphony better grading, RGB, 2k......

MCA gets uncompressed and full Symphony CC controls plus spatial (shapes) 2ndaries..

Xpress gets Symphony CC controls minus source side and shapes...

ALL get Network rendering and Metafuze for the 'modern' data challenges..

Michael

PS DS get everything with some cool panels and EASY 2k/4k ingest