Does Glue Tools work? I NEED DPX conform

[BigLu]

I have to export DPX files out of REDCINE with handles.

Music video.

But I have to re-conform the entire music video so its one contentious music video not just folders.

I am working with an apple computer, FCP, REDCINE, CRIMSOM.
DPX because that is the request of the client.

IS GLUE TOOLS my solution?
OR what are some options i have besides another high end system like Scratch.
Thanks in advanced.

 

[Jeremy Newmark]

Glue Tools works great. It's hands down the best way of working with DPX files and FCP. Once it's set up, you simply import a DPX sequence and FCP sees it as a normal clip. Just keep in mind that your real-time capabilities are limited and you will need fast storage. But if you are finishing in FCP with DPX files, Glue Tools is a must.

 

[BigLu]

Jeremy you seem to like it
I played with a demo version today and it seems cool

My next question is I am sending out of REDCINE a music video with 3 second handles.
I will rebuild the music video in FCP with gluetools as DPX files
my question is .
How do i best send these files to a da Vinci system conformed
thanks.

 

[Simon Blackledge]

I'm pretty sure once your DPX conform in FCP is done you just select the edit and go File>Export ... select the gluetools DPX and export as DPX to a folder.

Have you checked the forum they have? some tips on there for FCP.

Si

 

[M Most]

Jeremy you seem to like it
I played with a demo version today and it seems cool

My next question is I am sending out of REDCINE a music video with 3 second handles.
I will rebuild the music video in FCP with gluetools as DPX files
my question is .
How do i best send these files to a da Vinci system conformed
thanks.

Is the DaVinci system a 2K or a Resolve? A 2K is basically a video device, and expects to see either a video stream (from a VTR or similar) or something that looks like one, such as a DPX sequence played by a DDR (a Clipster or Rave HD would do this) that comes in as an HD video sequence. So for that, you would have to create one continuous sequence and send it along with the EDL. If it's a Resolve, that's a digital intermediate system that uses DPX as a native format, and also has conforming tools as part of the system. So for a Resolve, you would send the DPX files as they currently exist (with the handles, each shot in a separate folder) along with an EDL that's been checked and confirmed to be correct. The Resolve will load the EDL, look at the files, and play back the conformed version.

 

[Fredrik Callinggard]

BigLu you don't need gluetools for sending your project to DaVinci Resolve etc.

You only need Gluetools if you want to be able to "watch" your DPX files in any quicktime based program with exception of Color where you can watch the DPX and grade them, if you want (not without difficulties but still).

I for example generate DPX files thru Crimson from my Prores offline and then send them directly to Lustre (no Gluetools needed)

On the other hand it's a great program to have so you can receive DPX files later and keep your projects in 2K (or 4K if you so wish)

 

[BigLu]

Weirdcrew great name.

Thanks

But if they request it to be conformed in a sequence.
And the director wants 3 second handles so he can make adjustments and add transitions later.

How would you handle that?

 

[Gunleik Groven]

You're sorta contradictory in your description...

If you have an EDL, you can get it in with handles, but if it's only one long cut...

You can import the edl to FCP, re-link the proxy-media and send to crimson. Then you can either do batch settings in crimson or one, by one in Crimson/RC. You set the handle length in Crimson.

THEN, I think you DO want to export to separate folders. I cannot really see why not, but I may be missing something here...

You could (probably) do the same thing directly from the edl in Rubbermonkey, I guess (not tested here...)

G

 

[M Most]

Weirdcrew great name.

Thanks

But if they request it to be conformed in a sequence.
And the director wants 3 second handles so he can make adjustments and add transitions later.

How would you handle that?

It sounds like exactly what I was describing. They're probably using these files in a digital intermediate type of environment. The normal way of conforming for a DI is to provide each shot as a DPX sequence, with handles, in a separate folder with naming conventions that make sense for the project. In addition, you provide an EDL from your conform check that will work with the DPXs. You can do this using Final Cut, DPX sequences, and Glue Tools, but I wouldn't really recommend it. You would be much better off using a system designed to conform DPX sequences, such as Scratch, Nucoda, Smoke, or Avid DS - or giving it to someone who uses one of them. You could, of course, just make the DPX files and give them to your client along with your offline EDL, but there are numerous things that can happen when making those DPX files - not to mention the naming conventions - that could cause some problems that you won't know about until they call you and tell you the EDL isn't matching your offline.

 

[Fredrik Callinggard]

THEN, I think you DO want to export to separate folders. I cannot really see why not, but I may be missing something here...

I agree with Gunleik??? Ask them what the reason is for getting it in one sequence? I think you'll find that they want the edits in sequences. The other way around, with handles seems completely crazy.

PS the name was the crew name that I was in, when vandalizing subways as a kid :clown2: