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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 :)

Red in Avid

O

oldcharlie

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So I've read that Red is more towards the FCP but many are using Avid. Can anyone shed some light on how/what the workflow is for Avid?
 
Hello.

It depends...

If you want, you can edit (offline) in HD/SD (from xpress to DS). But redcode is not yet suported for import... so I suppose you'll have to export first redcode form redcine to QT or whatever format you want to import in AVID.

If you want to work online ("without" quality loss) you can work with DS nitris online up to 2k or in 4k with 2k proxies (=copies of your 4k material to be able to see anything, 4k has no playback in AVID). But still I don't think DS imports redcode raw. The output to 4k DPX would be done based on the 4k originals. Thoug I never worked in 4k with DS... Even for the last spiderman they worked that way (2k proxies to work with even while color correcting).

NOW if redcode would work as an DNxHD codec, then the 4k files 27MB/sec would not be a big deal for DS even the other Avid products. But I think first you'll have to wait 3 years util AVID wants to implement redcode (HDV codec is not yet supported by Nitris), and second you'll have to change your graphic cards and monitors to see 4k...

You can adress your DS questions to that forum, but I think their concern is far from 4k redcode...

http://groups.google.com/group/DS-List?hl=en

By the way DS nitris is a great tool to work with, the most versatile and complete you can find in the marquet. It's not a Da Vinci nor a ProTools nor a Flame but you can do a lot.

See you.

Patrick
 
Many thanks for a quick response. By the way, what are the recommended video graphic cards and monitors to see 4k?
 
Matthew Allard Ver perfil
Mais opções 29 ago, 14:11

De: Matthew Allard <matthew_all...@avid.com>
Data: Wed, 29 Aug 2007 08:11:03 -0400
Local: Qua 29 ago 2007 14:11
Assunto: Re: RED - 4k

We are working with the folks at Red and Assimilate (the makers of the Red
Cine application) to support workflows between Avid and the Red camera.

Red is not currently licensing its REDCODE RAW format to any other vendors
though we have made that request to them so we can build better integration
between Red and our products.


Regards,


Matt
--
Matthew Allard
Director of Product Management
Avid Technology, Inc.
Avid Technology Park
1925 Andover Street
Tewksbury, MA 01876
Matthew_All...@avid.com
tel: 978-640-3416
fax: 978-851-7952
mobile: 603-502-0616


Lucas Wilson Ver perfil
Mais opções 29 ago, 15:27

De: "Lucas Wilson" <lucas.wil...@gmail.com>
Data: Wed, 29 Aug 2007 06:27:59 -0700
Local: Qua 29 ago 2007 15:27
Assunto: Re: RED - 4k
Responder | Responder ao autor | Encaminhar | Imprimir | Mensagem individual | Mostrar original | Reportar esta mensagem | Localizar mensagens deste autor
[emerge from lurkerdom]


::: waves to Matt :::


Just want to be clear about something...


REDCINE is a free application that ships with the RED camera as an aid in
workflow for the camera. We worked with RED on the project and have been
active with RED for quite awhile. But REDCINE is a RED product, and while we
did have a hand in it, we are not "the makers" of the application.


REDCODE RAW is natively supported on an upcoming release of FCP and
currently on SCRATCH. This was shown publicly at this past NAB, and we will
also be showing SCRATCH support for REDCODE at IBC.


For anybody that wants to learn more about RED and participate in the
community, the best place is probably www.reduser.net. It's an unapologetic
fanboy site, but there's a lot of good information there, and it is the de
facto place where RED talks about stuff. Jim Jannard and other people at RED
are frequent participants and contributors.


Cheers,


Lucas Wilson
--------------------
Director of Widgets and Bolts
ASSIMILATE, Inc.
LA, CA, USA
lucas AT assimilateinc.com


::: throws some caipirinha mix at Schy before sinking back into the
primordial ooze :::


[return to the depths]


On 8/29/07, Matthew Allard <matthew_all...@avid.com> wrote:



- Ocultar texto entre aspas -
- Mostrar texto entre aspas -
 
Offline Editing in Avid- to completing an online

Offline Editing in Avid- to completing an online

I will be editing on Avid with offline media. I will be using Redcine to export to an avid compatible format, but I am unsure of what format that would be? What does Redcine offer?

And most importantly - how will I relink to my high-res media when I need to do an online on a Nitris?
 
Ah if do offline by Avid and how to online by SCRATCH?
 
Wow, this tutorial should help a lot of Avid users like me. Thanx Patrick
 
ive been using this workflow for months and its rock solid. i use compressor to batch my proxies into my desired DNx size then metacheater/batch import and cut away. make sure you set your audio to export at 24bit because REd packs their 24bit audio in a 32bit package and AVID cant read 32bit.
 
Thanks Jason for sharing,
one more question: i dont have SCRATCH, can REDCINE do edl exported from Avid offline? Thanks in advance
 
RedCine XML export is part of the v3 release scheduled for June.


Michael
 
Hi Michael,
Wow, that sounds great. Have you get any official announce about v3 RedCine XML exporting?
 
how do i convert my edl to xml for redcine conform

Cheers
 
Yes... and no. The fundamental architecture and XML export is in and is part of FilmScribe. One of the templates is called XML. This is what we call the master XML. That part is done, although future versions will continue to add additional metadata to the master XML.

The "no" part is the XSLT file that takes the master XML and creates the RedCine XML Pull list. Through some trial and error, feedback here on the forums, etc. as well as some optimization I wanted to get in for pull lists - this is about 2-3 weeks delayed. It may be done sooner. I will post the XSLT file here when complete. It does not need an update to the Media Composer.

Some of the pull optimization I wanted to get done was to ensure that overlapping spans did not create more DPX files than needed, as well as shots that were sequential were optimized into a single pull event. I also wanted to add a "tolerance" value allowing shots with "n" number of frames to be considered a single pull as well. "flash to flash" is an easy pull list, but creating DPX's of full shots can be costly in storage so I wanted to ensure we had the right list going out.

I hope you can understand and I appreciate everyon'e patience. There will also be a a whitepaper on the process so it won't be a learn by trial for many of the first time users.

Michael
 
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