Re: [Avid-L2] Avid /fcp red

We always bake in to PRZ with a best light grade using REDCineX and a
RR card, that's about RT or less. We then finish with Scratch that now
uses RR cards. However with our Feature Projects less than 1% get to a
Theatre and generally end up on DVD or cable, so we just use the PRZ
back into color and that's it, the decision wether we use Scatch or
Lustre is really decided on what the deliverables are. We will also
decide what quality PRZ, if it looks like a dog, we would make a
decision to go PRZ 4:4:4.

I have not done any speed tests on the RR card, going out to DNxHD,
but it would be the same workflow.

The Holly Grail, is to have an edit system that debayers the RED code
on the fly, no transcoding required. DS has just announced support for
this, but IMHO, it's too expensive. If the other players like Apple,
do not offer such a solution, RED/Assimilate will. REDCineX already
has the engine and you can do crude P&C now. That's your cue Oliver.

Ian Wilson
Colortape Productions
Ian@colortape.tv
0418 327 082
Via iPhoneb

On 20/01/2010, at 5:20 AM, "Nigel Gourley" <avid-l@outpostfacilities.co.uk
> wrote:

> Am I correct in thinking that the best way to offline red in FCP is to
> convert to prores and in which case if you are onlining on another box
> DS/smoke then the process and time is pretty much the same whichever
> of Avid
> or FCP you use. Either transcode to prores or Dnx depending. So
> there is no
> real workflow advantage in one over the other?
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