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Red offline / online workflow for media composer 2018
Just wanted to take a survey / ask for technical support. What offline/online workflow are people using currently for Red footage?
In the past, I had received R3D files, transcoded in RedcineX to DnxHD36, imported the ALE and merged with the AAF files. Edit the show. Decompose the sequence. Export an CMX3600 EDL. Import the EDL into RedcineX, adjust the shots, and transcode to DnxHD175x. Drop the new files into a mediafiles folder. Relink the decomposed clips to the new DnxHD175x files in Media Composer.
On a current project, I’m using the same process, but I’m having issues with the online. When I decompose, I’m getting the typical subclips, but it’s also decomposing master clips for some of the shots, which can run up to 20-minutes long. This is a year-long project so there were multiple shoots, and I’m not sure if I broke the “rules” at some point, or if some of the rules changes when we upgraded to MC 2018.
Does anyone still do Redcine roundtrips, or is Media Composer up to the task of transcoding Red with all the bells and whistles nowadays?
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1 Reply
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Nothing should have really changed MC wise for the workflow unless a bug was introduced.
Media Composer, like all other applications, have to use the RED SDK to decode R3D files. The difference is, all other applications give you full control over the RAW parameters, but MC is still only a subset. Other applications will let you trim R3D files as well.
I would see why decompose is not working – Typically its’ a decompose + handles and it should create new master clips which is what you would normally recapture with. Drop all those clips into a timeline, export CMX, back to Redcine (as you do) but consider a RED trim pass rather than making DNxHD. AMA those and relink giving you control over source parameters as well as resolution should you need to resize, etc.
Michael
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