[Avid-L2] Re: Why isn't Avid marketing all over this story?

> David Dodson wrote:
> You cut features online in FCP? How do you cut a 35mm
> feature for wide theatrical distribution "online" in FCP?

Aside from the "online" aspect, remember FCP comes with Cinema Tools. Although I won't vouch for it, as I haven't used it myself yet on a feature, CT is the part of Studio that is there to handle film databases.

In addition, I've worked on a number of jobs that were finished in FCP and output to HDCAM-SR and/or HD-D5 with the intent of an eventual film release. So in essence, the "poor man's DI" route.

Regarding all the posts about drag-and-drop .R3D files, all I can say as an editor is - Are you &^%$&^%$ NUTS?! I see no reason to bog down the creative flow by encumbering the system with excess data. When you start slogging through a feature with 5-8TB of RED files that all have to be decoded on-the-fly, it just becomes unwieldy, no matter how fast the computer it. I'm a firm believer in offline-online, even when I'm cutting straight HD work, if there is a lot of creative trial & error to wade through. System responsiveness is of supreme importance and trumps image quality any day.

Regarding Avid & RED, the more logical workflow is probably using Rubber Monkey. If the destination is intended to be electronic, then DNxHD 220 is going to be more than adequate. If you want a real DI, then you ought to be going through a DI system with proper DCI display. Or master DNxHD to tape and go through a DI from that to do a trim pass for a film-out.

BTW - talk to high-end still photographers and ask them how often they shoot camera RAW. You'll find out that it actually isn't that much. Many will tell you they only shoot raw for their top-paying clients, because the post workflow is too time-consuming and they'd liked to get paid for that work.

- Oliver

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