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RED offline/online workflow with MC 5.5 – maintaining raw data for color correction?
Hi there-
As with many other folks on this forum, I’m a long time FCP user, currently adding Avid to the roster.
I’m trying to investigate the best workflow for an offline/online edit with RED footage, ideally staying within Avid MC for color correction while maintaining the RAW information of the original footage. From what I’ve read, one way to do this is just linking to the RED footage via AMA from the onset, so you can always have access to the RAW info, but that doesn’t seem to be very efficient, processor-wise, when doing the edit.
Here is how I have been going thus far:
1. Import all RED footage into Redcine-X. Transcode to DNxHD 36, and bring all the AAF files into MC. Then link footage to the ALE.
2. Edit.
3. Decompose sequence, export an EDL and bring that back into Redcine-X.
Now from here it seems like the suggested method is the transcode your used media to DNx175 (or whatever higher quality codec is best), then bring back in the high quality footage into MC and do your color correction. But from what I understand, you’re then losing the RAW color information of the original .r3d files.
Is there a step I’m missing in Redcine-X to maintain that information? Or should I be going about this a completely different way?
Instead of exporting an EDL to Redcine-X, is there a way to take your decomposed sequence in MC and link that to the RED footage via AMA instead?
Any assistance would be much appreciated. Thanks!
-David Wulzen
Avid Media Composer 5.5.2 -
1 Reply
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If you started with AMA and transcode, then you can just relink back to the original R3D files for the final conform. I have used the EDL method as a means of a pull list back in REDCINE to just grab the R3D files needed. If you don’t need that step, then it does work to relink back to the original R3Ds. I haven’t done it that way myself to give you a step by step, but there are probably postings in this and other forums.
Keep in mind that although you are accessing the R3D files natively, it is still being corrected in a REC709 color correction system and using the output of the RED SDK and settings via RMD to do that. The R3D source settings in Media Composer are only a subset of the controls you have in REDCINE X which is why many people recommend getting all the image color needed in REDCINE X first, load R3D with updated RMD (as it interprets all the metadata from REDCINE X) and do the final color correction for REC709 masters inside Media Composer.
Michael
Michael Phillips
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