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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 :)

MC5 and MX

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Bogdan Dumitru

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Hi there,

I'm thinking to update my MC to v5 but I need to work with the latest R3D files, mysterium-x.

Does anyone tried with this ?
How's working...any feedback ?

Thanks,
 
That will work.
Just make sure that if you don't use a Rocket, you need to set the Debayer preference to something like Half Good (in Media Creation Settings), otherwise it will take too long to transcode.
Also read up on the Reformat column in the bin, as MC defaults to cropping off the sides of the image.
 
BTW, is there still a bug where the RedRocket card makes Metfuze transcode more slowly (not faster)?
 
Not sure what the current version of MetaFuze is, but 2.1.1 did not work correctly with the card (effectively slowing it down). Pretty sure it will be fixed in an upcoming release of MF.
 
Thanks for prompt answer,

I am not using the red rocket, just 8-core macpro.
Did someone made a rough timing on transcoding from 4k r3d to HD MXF 36 (of course, half good debayer, etc) ?

Cheers,
 
we´re edititng a feature shot on MX Camera in 4,5k Widescreen and use MC 5, transcoding to DNxHD 185 counts in with about 1:4 in half res debayer.
Just make sure no RSX Files are saved with the R3D files, they slow the system down dramatically.

best regards
Manuel
 
I see the same as Job - Roughly 2-3 times real time depending on storage and read/write speeds.

Michael
 
There are several features edited at 175/180. Gone Baby Gone was done at 175 for example.

Michael
 
woow

4:1 speed at ratio at 185 it's a very good value.

am I doing something wrong ? because it takes me that time with metefuze, on windows XP on virtual machine loaded in macosx 8-core, for DNxHD 36 !!
 
The speed difference between transcoding into 36 versus 185 is not that big, it basically only seems to consist of the write time of the resulting file.
 
I would think that offline in 120 (pal-land) is enough. To be able to work on a big workstation, but also a smaller laptop, not having to do screenings from a file but from the Avid itself is a good workflow.

I've tested AMA with red and while it's nice to be able to do it on smaller stuff like commercials, I would never use it on a feature, it's too heavy and the material will eventually go into grading and post anyway, no need for it to be composed out of the original material.

Also, I assume that editing a feature film and then relinking just the original material needed is a good way to do finish yourself.
 
Christoffer Glans said:
I would think that offline in 120 (pal-land) is enough.
Click to expand...
36 is enough, IMO. I screen that theatrically, when screening cutting copies, without hesitation.
36 is just easier to deal with (less copy times, less back-up times, smaller export file sizes and therefore faster export/copy etc.).
If you go 115 (24p-land, PAL or not ;-) ), your file size immediately increases a lot, yet picture quality hardly improves, in my experience.
 
I do all my HD offline at 36, liek Job says quality holds up quite well on a large projection screen, easier to move dailies around, etc. I am seeing the trend in primetime television here in the US for the offline to be done at 175x so that there is no recapture conform at the end of the process streamlining the workflow. It all depends how hours of source and overall schedule/budget for the show.

Michael
 
So I suppose that using MC5 is the best option now to transcode on set and send to editing MXF files (of course, without any grading on it, or a grading applied from MC5) ?
 
From what i've seen of MC5, composer itself is a fantastic tool, and alternative to metafuze and redcine x. you should check out avidscreencast and the demo of working with r3d, changing your raw settings, transcoding with AMA. It looks really solid. You can even subclip your r3ds before you go to dnx.
 
Bogdan Dumitru said:
So I suppose that using MC5 is the best option now to transcode on set and send to editing MXF files (of course, without any grading on it, or a grading applied from MC5) ?
Click to expand...
RedCine-X is still a tad faster, in my tests (link), with the Rocket that is.
That said, MC5 will bring across a huge amount of metadata.

Best thing about MC5 is that you can do on-set editing prior to transcoding.


Regarding Michael's example, if I were to work on something that would be finished in video (i.e. 175 or 175x), I think I'd skip the 36 offline. But all of my Red projects so far have always had Scratch or Baselight conforms and grading.
 
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