Friday, February 26, 2010

[Avid-L2] Re: Workflow help

I'd agree that the FCP to Avid issue is the key. Automatic duck may work here.
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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