Latest post Thu, Mar 12 2009 9:37 AM by BobbyMurcerFan. 6 replies.
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  • Wed, Mar 11 2009 6:31 AM

    • Michael Wolf
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    Red Shoot->Final Cut Edit->Symphony Finish Pipeline

    I have a client that wants me to be the colorist for a music video shot with the Red camera and cut in Final Cut Pro.  The footage is now Apple ProRes422 in the FCP project.

    Is there a way to get this timeline and footage over to Symphony?

    artist•technician / Great Eyes / Symphony DX [view my complete system specs]
  • Wed, Mar 11 2009 7:25 AM In reply to

    • DylanReeve
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    Re: Red Shoot->Final Cut Edit->Symphony Finish Pipeline

    Could just export a quicktime movie as Animation codec or something.

    Best way would be FCP edit into Monkey Extract to create REDXML pull list for REDCINE, then create DPX sequences with REDCINE, but Symphony doesn't do DPX, so not much advantage, you have to take the DPX to Metavuze and make Avid Media there and apply a LUT.

    Various systems - including HP Z440 and Z840 workstations Media Composer 2018 [view my complete system specs]

    Dylan Reeve - Edit Geek // Online/Offline Editor // Post Production Supervisor
    Auckland, New Zealand

     

  • Wed, Mar 11 2009 9:35 AM In reply to

    Re: Red Shoot->Final Cut Edit->Symphony Finish Pipeline

    Perhaps Automatic Duck is an option:

    http://www.automaticduck.com/products/pefcp/

     

    "When I spent 60k on a discreet edit digisuite system 10 years ago someone came up to me to offer fcp 2, I said it was a scam too." -Ric

  • Wed, Mar 11 2009 3:00 PM In reply to

    • TCurren
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    Re: Red Shoot->Final Cut Edit->Symphony Finish Pipeline

    Sorry, best way is to learn Color and do it there. You have access to the native RED files and a powerful color correction system. And you don't have to reinvent the world to get there.

     

    Otherwise the easiest way is to get a QT movie or HDCAMSR output, import to Symphony, and then import the EDL from FCP and use the old Pan & Scan trick to subdivide your timeline.

    Symphony Nitris Classic, Symphony DX, MC Soft, MC Adrenaline, MC Adrenaline HD, Unity, Terrablock, ProTools [view my complete system specs]

    Terence Curren Alpha Dogs, Inc.

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  • Wed, Mar 11 2009 7:11 PM In reply to

    • DylanReeve
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    Re: Red Shoot->Final Cut Edit->Symphony Finish Pipeline

    TCurren is right - Color is very powerful, but be warned it does have a few quirks taht are very annoying and not obvious at first. As long as the client has used the FCP 'Log and Transfer' method to get the footage in then it's pretty simple (reportedly) to get Color looking at the right footage.

    However if they've just opened the 'proxy' QT files then I think the process is more difficult. Unfortunately there are a lot of ways to work with RED, and if you don't pick the right one early it can limit your options later.

    Various systems - including HP Z440 and Z840 workstations Media Composer 2018 [view my complete system specs]

    Dylan Reeve - Edit Geek // Online/Offline Editor // Post Production Supervisor
    Auckland, New Zealand

     

  • Wed, Mar 11 2009 8:28 PM In reply to

    • mrmikster
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    Re: Red Shoot->Final Cut Edit->Symphony Finish Pipeline

    Well, if you're going to not go Symphony, I think the better bet would be to go DS. At least the color corrector is just like Symphony's and you have the benefit of lut support and can work native from the .R3D files as well. The render engine is super fast, plus you have all the other bells and whistles, background rendering etc.

    Now getting from FCP to DS, you could try the new Autoduck. The boys in Montreal report it will play nicely with DS and you get to keep all that lovely metadata.

    Michael

     

     

    "There are no rules for the brave". Albert Einstein

  • Thu, Mar 12 2009 9:37 AM In reply to

    Re: Red Shoot->Final Cut Edit->Symphony Finish Pipeline

    At the risk of highjacking this thread a little, can anyone explain the significant differences between Color and MC's color correction capabilities?

    I realize that Color (and Symphony) have color based secondary color correction. MC can do this as well via the Boris CC effect Correct Selected. Not nearly as elegant, but it can work.

    I wish MC's color wheels and curves windows were bigger and that the scopes were realtime.

    But what is so amazing about Color, besides that it used to cost $20K and be called Final Touch? What does it actually do better? I don't doubt it does more, I just haven't read an account of the differences. Since some members here have used both, I thought I'd ask.

    Thanks.

    "When I spent 60k on a discreet edit digisuite system 10 years ago someone came up to me to offer fcp 2, I said it was a scam too." -Ric

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