But I'd have to say it's far wiser to stick to the FCP if that's where all the media and logged clips and sequences are.
There's a growing trend to want to jump around on different systems and platforms for little gain than availability or a price point but the loss in metatdata and sometimes quality is very frustrating and ultimately more costly in the long run than things need to be.
--- In Avid-L2@yahoogroups.com, "Job ter Burg (L2B)" <Job_L2@...> wrote:
>
>
> > It's really not that big of a deal.
>
> Have to disagree with Greg here, sorry.
>
> The big deal is not conforming the 4K red files, the big deal is offlining a
> trailer for a show cut in FCP.
>
> The FCP session will have synced clips (red-originated picture and probably
> BWAV originated sound). In order to be able to cut a trailer, you would need
> to have access to those synced clips. Getting those from FCP to Avid (or
> vice versa) as far as I know is not easy. It may require more time to handle
> that correctly than cutting a trailer will take (days if not weeks).
>
> If it were up to me, I would have them do a playout of their current cut
> (dialogue only, preferably with some burnins), then after locking the
> offline for the trailer, manually reconform the trailer in FCP from the
> sources. Then export for 4K finishing and sound post.
>
> Manually conforming such a cut should take a few hours.
>
> Or cut the trailer in FCP.
>
>
>
> --
> Job ter Burg
> film editor - NL
>
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