FCP to AVID DS

[Allard Faas]

Hello I'm new on the forum so if I do something wrong please notify me.

But here's my question.

We shot a film on RED both 2K and 3K and in the end it all needs to be HD.
Thing is I work on FCP (7) but the production company likes to do the compisting and the Color correction be done on a AVID DS.

What is the best workflow for me?

I normally use REDrushes to convert to a editable size and than online and CC on a faster FCPset and CC in Color.

 

[Stefan Christou]

The best workflow option in this case is to buy Avid Media Composer.

 

[Patrick Tresch]

I imagine a lot of post guys could answer better as I. But with the little experience I have with DS I imagine you could :

1 ) send them a XML/EDL from your cut and do a conform. Last generation DS do accept R3D "natively".

2) export your timeline from FCP > Color > FCP in a DPX sequence (DS handles DPX 2k in realtime) using Gluetools for the transcode to DPX.

3) ask michaelP on this forum ;-)

???

Any other thoughts?

Patrick

 

[Christoffer Glans]

Like Stefan said, why not Media Composer? If you edit offline on MC you can just open the original R3D files in DS. Just render out offlines with Metafuze and then you don't need any other transcode throughout the process.

 

[Stefan Christou]

Yeah and you can get Avid MC as a free trial from Avid.com if you want to try it out or try and deliver within two weeks :thumbup1:

 

[Peter Moretti]

You could edit in FCP and then use Automatic Duck to create an Avid project. Bring that to the post house and they should be able to conform it to DS.

Or you could create an EDL.

 

[Allard Faas]

Gettin' AVID MC looks like the easiest solution. :rolleyes5: But it seems like it is the wrong workflow togo. Creating a EDL wil be my first try. And I try to figure out if I can go around the tape/real name problem.

 

[Brandon Kraemer]

Consider this... Cut in FCP with proxies, process using Monkey Extract (assigns reel names to each clip, like a luster or pablo would read) import EDL into DS, re link to transcoded media. If you work this way, transcode with Camera RGB color space and Redlog gamma space, gives the colorist a pretty wide open transcode to work with.

 

[Christoffer Glans]

Using an AAF from MC to DS would be a much better choice then ever going into FCP. Yes, perhaps a short film would be good with FCP but never a feature if the end is DS.

 

[Allard Faas]

Consider this... Cut in FCP with proxies, process using Monkey Extract (assigns reel names to each clip, like a luster or pablo would read) import EDL into DS, re link to transcoded media. If you work this way, transcode with Camera RGB color space and Redlog gamma space, gives the colorist a pretty wide open transcode to work with.

What we gonna do lookes like your option, finnisch the edit in FCP then convert the project to DPX files with Monkey.

What do you mean with 'assingreal names'? The real names in my project are the same as the clip names for example A001_C001_0910RP. Shoot this be different?

And is this the way to go?

 

[Brandon Kraemer]

yes, and there is an option with in Monkey to make sure each sequence it creates has it's own unique reel id. The colorist will prefer that it comes in this way.

 

[Allard Faas]

Thanks for your assistence!

But do you mean yes in 'this is the way to go!' and leave the real names to monkey or yes change the real names?

Gr Allard

 

[Brandon Kraemer]

sorry, yes... apply the real names option with Monkey. Do not manually change reel names, etc... your just letting Monkey create the reel id's for each clip automatically.

you can always check with the colorist to make sure this is how they want the files, but this is common.

 

[Allard Faas]

Thanks you where very helpfull. Normally I walk to the 'Post-office' with my disk and let them do the math. But this Colorist is a member of 'the federation against FCS' I gues