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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 :)

Redcine XML

M

Marcus Vasques Osorio

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I understand the workflow to be, or one I think I will be adopting...

REDCINE export QT for AVID
REDCINE XML --> ALE for AVID to batch import (via xslt)

create a fantastic edit and export an Master XML via AVID's filmscribe

Master XML then run through xslt to create a XML that REDCINE can understand
(if not a direct export of REDCINE XML)

A PULL LIST created DPX exported...

My question is how do you create a timecode header so that a CONFORM can be done in a already working CONFORM program like NUCODA etc... (SCRATCH is not an option)

I understand that Metafuze is an option but I think that all those 2K dpx's will take much to much space on a SAN....

might be a REDCINE question

mahvo
 
The DPX files would be created by RedCine from the pull list generated from the XSLT script from the Filmscribe master XML of the sequence. Once the XML is loaded into RedCine, you would export from there as DPX. The header would contain REEL and Timecode. EDL export from Avid for the conform would be the basic step unless they already support AAF. They could also look to the master XML exported from FilmScribe as a richer means of conform than EDL, but slightly less than AAF.

Michael
 
This I understand what I wonder is the header.... when I create the DPX sequence there is only a frame number.... example...

A348_C001_080603.0000001.... A348_C001_080603.0000002 .....A348_C001_080603.0000003 etc...

this is not a timecode but a frame??? am I missing something in the output filename

mahvo
 
mahvo said:
This I understand what I wonder is the header.... when I create the DPX sequence there is only a frame number.... example...

A348_C001_080603.0000001.... A348_C001_080603.0000002 .....A348_C001_080603.0000003 etc...

this is not a timecode but a frame??? am I missing something in the output filename

mahvo
Click to expand...

There will be timecode for the conform in the metadata of the DPX regardless of the filename. But if you want the frame number to correspond to the metadata then select "Input File Numbers" when choosing a name for the files in Redcine.

DPX Header information HERE
 
thanks, nice to meet you at the KENNY shoot :-)

currently testing some other workflows apert from scratch.. so will test tommorrow. Are there any good programs out there that are free or cheap which can read header information in a DPX??? Mac based of course, am not near the nucoda tonight and would like to test some little scripts I have written with REDline....

mahvo
 
XSLT script?

XSLT script?

I've been searching high and low.. forgive me if I've missed a post.. but were can I find this XSLT script to convert a Filmscribe generated master XML to a RedCine XML?
 
So then, currently, the only way to turn an Avid EDL into a RedCine pull list is to export an EDL from AVID, auto duck it into FCP, and export an XML file from FCP? Is it that easy? FYI, I did use metacheat method on initial import into the Avid.
 
The export side back to RedCine is nearly complete - Right now the only export from Avid is EDL with either the short or long file names. For now - what you describe seems to be one of the solutions available although I cannot speak for it myself as I have never tried it. Others will have to comment.

Michael
 
You should be able to take the FCP XML ex autoduck and convert it to a redcine xml using crimson.
 
AustinMilbarge said:
So then, currently, the only way to turn an Avid EDL into a RedCine pull list is to export an EDL from AVID, auto duck it into FCP, and export an XML file from FCP? Is it that easy? FYI, I did use metacheat method on initial import into the Avid.
Click to expand...
Heres the full Avid workflow we have tested and seems to work well.

Input Red files into Avid using Metacheater to get timecode

Edit
Delete all timewarps (else it has an error on export??)
Export OMF2

Input into FCP using Automatic Duck
Ensure sequence settings same as Red proxy
Reconnect all media, locate Red proxies

Export XML

Use Crimson to make Intermediates and a Telecine XML

In RedCine Load Intermediates, then load Telecine XML



This seems sweet... apart from a few RecCine crashes and random weird things long the way......
 
Thanks, DC. I've been trying to do this with EDL out from AVID and skipping the auto duck and reconnect media step. Logically, this seems like it should work since you really should only need the timecode and clip names. I think its a problem with my EDL export from the AVID because ultimately my XML in Crimson shows all edits starting at frame 0... Strange because my FCP sequence is showing proper timecode for the clips. Anyway, I've been wasting too much time trying to figure this out. Automatic Duck it is. Thanks again.
 
I did a post a while ago where it is best for the host application to generate the pull list since it knows all the sources used regardless of effects or layers. This is something that FilmScribe has been doing for a long long time in a film based pull list, scene pull list, optical pull list, etc. We are using all of these algorithms to do the same via XML so the pull list will be done directly with no need for EDL or other applications in the path. This is not to say that third party applications don't have a for a variety of other workflows but we are applying a lot of this experience into the file-based world.

Hang in there... it will be very soon. I am on vacation, but the tools and whitepaper are under review and/or test by Avid, Red, and Assimilate.

Michael
 
Yeah FCP doesn't handle EDL's too well.
As long as you have the RED16 edl format from the legend Jabez then the EDL is sweet but FCP stuffs it all up on import.
Looking forward to The XML export direct from avid which should make all this intermediate stuff obsolete and save us all time, money and headaches.
 
There's a tool called Sebsky that converts ALE to FCP Batch List. So, after editing in avid (assuming MetaCheater and all...), you export an ALE, load it into Sebsky, create FCP batch list, load it in, reconnect, drag clips to timeline, create XML, do Crimson and so on...
It worked for me on a short test sequence which I conformed on Lustre.

Still waiting for Avid to enable REDCine XML export though.
 
DC71 said:
Heres the full Avid workflow we have tested and seems to work well.

Input Red files into Avid using Metacheater to get timecode

Edit
Delete all timewarps (else it has an error on export??)
Export OMF2

Input into FCP using Automatic Duck
Ensure sequence settings same as Red proxy
Reconnect all media, locate Red proxies

Export XML

Use Crimson to make Intermediates and a Telecine XML

In RedCine Load Intermediates, then load Telecine XML



This seems sweet... apart from a few RecCine crashes and random weird things long the way......
Click to expand...

Do you have a roundabout for the name changes in avid while syncsound is made to the scene-shot-take structure?
 
Until the Avid XML alternative is online (and it will be very welcome) I've also been using the omf to FCP via Automatic duck. It's much more reliable than an edl from Avid to FCP. The reconnect in FCP is the hump as there are a lot of attributes that FCP sees as changed but they usually reconnect properly via the auto duck method. I haven't used this recently as we've been sending our Avid edl to a Scratch Cine for the dpx pulls but then the Avid XML alternative comes online it will be a great option.
 
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