all I can tell you is that Epic is a giant pain in the ass. I recently did a gig with Epic footage in FCP7 and it was slow and painful. I just converted to ProRes LT for "offline" and then reconverted to 444 for color correction and finish. What color settings did you have in RedCine-X?
--- In Avid-L2@yahoogroups.com, Bruce Tovsky <bruce@...> wrote:
>
> bump? this is making life a bit hellish, as there doesn't seem to be much info out there on this issue.
> anyone have any tips?
> b
>
> On Feb 2, 2012, at 11:03 AM, Bruce Tovsky wrote:
>
> > hi all
> > thought i'd ask about this before i go into tail-chasing mode... and not the good kind....
> > i got a slew of Red media shot with an Epic and found that on my mc 5.5.2 nitris osx 10.6.7 setup i cannot read these via ama - i either need to go with redcine or mc 6. i ultimately used redcine, which i've not used before. it seemed a fairly straightforward process to take the files and make DNxHD175x mxf's, which came into the avid fine but for one thing: the levels were akin to the old canon 7d files - crushed blacks and hot whites. of course, the "set source settings" option doesn't work on the mxf's. i was able to look at these red files on a mc 6 system, and saw the same issue using ama. when i tried the "set source setting" in mc 6 the files became pixellated with color artifacts and where not usuable. in the meantime i am using cc to bring the levels under control, but would love to figure a workflow for these in mc 5. in addition, i was reading some info about the Epic and it's feature of shooting two simultaneous video tracks - a primary track a nd a highlight protection track, which are combined in a single red file. these are "baked" into a transcode and cannot be adjusted in the avid later.
> > if anyone has some experience with the Epic i'd love to hear any tips.
> > thanks
> > b
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