Baselight AVX Plug-in now available for MC

[Martin Tlaskal]

Martin - I'm up for the Win testing - I have both Mac and PC in my studio and can test sequences back and forth as well, etc.

Michael

Cool, I've already got your email address, so I've added you to the list.

-Martin

 

[jake blackstone]

Well under way - we're hoping for Q4 2012. Anyone interested in being on the beta progress, DM me here and I'll add you to the list.

Is this list different from the FCP list? Do I need to add myself to this list or it's the same list?

 

[Martin Tlaskal]

Is this list different from the FCP list? Do I need to add myself to this list or it's the same list?

It's a different list.

 

[jake blackstone]

It's a different list.

Then please add me to it
jake4n (at) me. (com)

 

[Martin Tlaskal]

Then please add me to it
jake4n (at) me. (com)

Done!

 

[Peter Moretti]

Martin, I PM'd you. Am I on the list too ?

 

[Martin Tlaskal]

Martin, I PM'd you. Am I on the list too ?

Yes, you are now - sorry I didn't notice your DM, this forum makes it hard to tell - I'll have to fiddle with the settings.

 

[Peter Moretti]

No prob .

 

[jake blackstone]

Because this is Red forum, I'm wondering how the BL plugin architecture would translate into a real life ability to use it with RAW files. Obviously, FCP can't do it, so that leaves only AVID. In my experience, majority of people still prefer FCP, even with transcoding and all. Very seldom do I get a project, that is edited on Avid. Majority of Red users are gravitating toward PP. So, as I see it, for Alexa crowd, BL plugin for FCP and Avid is a powerful new tool. So far, usefulness of BL plugin for the red crowd is less so...

 

[Dermot Shane]

All my clients have transitioned from FCP, some going to PP, some to MC, but no one i'm working with uses FCP anymore,

Maybe a Vancouver -vs- LA thing, or maybe cause i really don't do reality/doco where it seem FCP still has a reason to exist, and mainly work on MOW's, Indie features & National TVC's where Epic is the tool of choice, maybe 60-70% of my shows are shot on Epic, the rest on Alexa or film, MC is the offline tool most often used

Makes a great case for MC/Baselight/Fusion offline going to a DS/Baselight/Fusion finish

 

[MichaelP]

Not that I am a doc editor, but other than price in the early days, why FCP would be used instead of MC? MC has real time mix & match playback for codecs, rasters, frame rates as well as integrated PhraseFind and ScriptSync to easily find footage aligned to transcripts or that have no transcript at all. There is certainly a lot to like in PPro for editorial and they are certainly accelerating the value of metadata as well. I've been really getting into Autodesk smoke these past few months too. LOTS of control over images and with the conform getting better and better, it's really becoming the finishing tool Avid never really made for Mac users.

But all that aside, still playing with BaseLight plug-in and part of the Avid timeline that never got done was the ability to access R3D source settings directly from the color corrector where it is most needed (after dailies) to provide the most control over the image. If that were possible, then it "might" be possible to pass that on to third parties, not only in color correction but with any AVX effect that may benefit from source controls on the original clip, not to mention original file resolution. This goes back to my other related threads on the topic of a timeline being a platform that enables third parties to create solutions where the sum is greater than the parts. We'll have to see what Avid brings to IBC and NAB to find out.

Michael

 

[Peter Moretti]

Michael,

Why still use FCP 7? B/c the UI in MC is still a quasi-mess. No realtime scopes, no auto resizing of windows, no ability to disable individual Avid effects, AMA still crashes and is unstable, CC tools that were once kick ass but haven't been updated for years or over a decade in the case of Symphony, and I could go on and on. I love MC, but there are still times when I feel like putting my fist through the desk, b/c parts of it are so kludgey and sorely in need of update, that I just can't believe it.

JMHO, LOL!

 

[Frank Cueto]

How would one deal with a client using the BL plugin on redgamma3 dailies footage and then coming to a grading suite where one works off redlogfilm? Would all the data from the editor be basically useless or is there a transform in there to help sort this out?

 

[MichaelP]

Peter - I certainly agree with you on your points which is why I referred to smoke as the product refuses to make (on a Mac). I was referring to creative editorial for docs mainly in my question. Finishing and mastering are a whole other conversation, and a short one when it comes to Avid MC and Symphony.

Michael

 

[MichaelP]

How would one deal with a client using the BL plugin on redgamma3 dailies footage and then coming to a grading suite where one works off redlogfilm? Would all the data from the editor be basically useless or is there a transform in there to help sort this out?

In Media Composer it would currently be a two step process - AMA to source settings gives you some control over the color parameters (not all of them, and no RedColor 3). Those changes would manifest themselves at the timeline level, then going into BaseLight to take it from there. This goes to my reference in earlier threads about passing all the metadata through and not just the image pixels would give plug-in vendors the ability to go read the RMD directly (or automatically) but would need a way to defeat what the Avid AMA was already pulling through.

Michael

 

[jake blackstone]

How would one deal with a client using the BL plugin on redgamma3 dailies footage and then coming to a grading suite where one works off redlogfilm? Would all the data from the editor be basically useless or is there a transform in there to help sort this out?

I guess the question is more fundamental one on the role of dailies by the DIT or the look, applied by the editor, prior to final grading. Granted, it is a known fact, often, while editing, produces, directors etc. would frequently would fall in love with the look of dailies or editor's color tweaks. I do not wish to diminish DIT's or editor's role, but I don't think anyone could suggest, that the near set grades, dailies transcodes or editors grading techniques, using god knows what kind of calibration or the type of monitor's used or what kind of crazy adjustment had been performed, would hold much value for the final grade. I think DIT's metadata or BL plugin grades is a decent starting point in understanding the direction of grade, but certainly not the foundation for the final grade. So, I just grab many hero shots with grades from dailies into the still store, reset everything, except WB, ISO and tint and start fresh with RedLogFilm and RedGamma3

 

[Martin Tlaskal]

How would one deal with a client using the BL plugin on redgamma3 dailies footage and then coming to a grading suite where one works off redlogfilm? Would all the data from the editor be basically useless or is there a transform in there to help sort this out?

You would certainly need a transform to convert to the colour space in which the material was graded.

-Martin

 

[Nick Shaw]

How would one deal with a client using the BL plugin on redgamma3 dailies footage and then coming to a grading suite where one works off redlogfilm? Would all the data from the editor be basically useless or is there a transform in there to help sort this out?

I would say that the grading parameters applied to the REDgamma image would not really be very useful other than using the result as a reference image. The same adjustments applied to an image in a "video" type space like REDgamma3 will give a very different result if applied to a REDlogFilm image followed by a REDlogFilm to REDgamma Truelight cube like mine. Applying the grade after the Truelight cube would yield matching results, but would lose the whole benefit of working REDlogFilm in the first place.

Here is a simple example, changing nothing but moving the Truelight layer's position in the stack:

REDlogFilm to REDgamma3 cube applied before grade

REDlogFilm to REDgamma3 cube applied after grade

 

[BRANDON JAMESON]

+1.

Why wont AVID invest in the future of NLE?
It boggles the mind.