[Avid-L2] Re: Avid /fcp red you Ty

The native solutions for RED finish using Apple, Adobe or other desktop solutions are interesting, but primarily appeal to low budget producers. It's true that Stu M is a big proponent of AE for finishing in his DV Rebel concept, yet he designed his own "Spirit" post pipeline around Nucoda Filmmaster.

The RED 4K desktop post demos play nice on simple jobs and for a receptive audience, but what happens when RED ups the ante to 5K and more? What happens in the real world when you mix camera codecs, frame rates, aspect ratios, frame sizes, etc.? What about the new RAW formats coming down the pike (ArriRAW or SI2K for example)?

I'm not AE expert, but as I see it, finishing in AE challenges you with several deficiencies. For example, AE has no basic editorial tools like a dissolve (needs to be opacity change on different tracks), freeze frame or motion effects (without using time-remap plug-ins).

There are no sophisticated, native color grading tools in AE. This is done via very good plug-ins, like Colorista, Looks, Color Finesse or others from CoreMelt or Noise Industries. None of these tools offer proper in-context grading inside AE. None of these tools work with the camera-raw data itself. They all work AFTER the raw data is adjusted and decoded. So, what's the advantage over other solutions?

AE is valid in that it is good and can get the job done. There's a real place for their native RED workflow in spot work and on low cost visual effects. I don't see it as the best overall solution for a complex RED project. I go back to my first point that this solution in the long form world is for masochists. It appeals to the producers who have no money, but a lot of time - or who place no value on the cost of their time.

- Oliver

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