[Angelo Lorenzo]

Wide gamut monitors are designed more for print proofing. You get more if not close to all of the Adobe 1998 color space which Rec 709 (video) doesn’t expand into. Rec 709 is sRGB; all the primaries and white point are the same, but the gamma (contrast curve, basically) is ever so slightly different.

Wide gamut monitors are more professional overall, you’ll see less banding in gradations, they’ll be easier and more consistent to calibrate and so on so it’s not a total wash.

As for if the output will match… it’s debatable since there are so many hardware factors. In my experience I’ll say you’ll get a match with some inconsistencies. Depending on how you connect your monitor, say DVI, you’re limited to 8bit color. If you connect through something like a Matrox Mini to HDMI you’ll get a 10bit signal. Your monitor may be 8bit (most are) but some have internal processing that will use the extra bit depth to dither other colors – your monitor ends up making up some subtle colors that aren’t there in the product but you won’t see huge shifts.

Color management is weird, period.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

Also, you don’t want to load your monitor profile into your color managed programs. It’s a transform to bring your particular monitor to, usually, sRGB standard. The monitor profile is usually applied by the calibration software, your operating system, or your GPU driver at system startup since it’s a transform only for your monitor output.

If you apply it to footage, it’ll just throw things out of whack because you’re overcompensating.

ColorSync is just how Mac manages color profiles between programs, not too much mojo to it.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

It’s a touchy subject.

Firstly, your monitor needs to be calibrated by some external system (X-Rite, Spyder Pro, etc). Most computer monitors will correctly display SRGB color at 6500K with 2.2 gamma.

Rec 709, the color standard for HD material is vastly similar. The gamma is slightly different so you may see some recommendations for 2.35 or 2.4 (the transform curve isn’t continuous so these are average gammas, thus some conflicting recommendations).

With Premiere and Speedgrade, the interfaces are designed to be on sRGB monitors. You should, for the most part, have a what-you-see-is-what-you-get in this situation.

If you’re color correcting for Standard Def NTSC you’ll have to deal with some different issues. This is Rec 601 stuff and it uses different primary colors and a different luma point than HD material and, if you choose the American flavor of NTSC, you’ll have to deal with a different black point.

While in practice your NTSC material should be 80% fine (the changes from 601 to 709 were to fix some issues with certain color combos and other academic reasons), I don’t know how successful you’d be at passing a broadcast QA check unless you know how to use your scopes very well.

The benefits of a real broadcast monitor are, of course, more standardized inputs, better color reproduction in general, gamma switching, colorspace switching (in really high end monitors), built in scopes, etc. You also have the ability to properly watch interlaced footage so you can detect field errors.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

What effects are you using?
Are you retiming any of your shots?
Is your footage fps different than your comp fps?
Do you have frame blending turned on for that layer?

What are your export settings?

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

You may have to use Resolve to create proxies (prores or dnxhd) and then reconform after you have your edit locked.

Even though Adobe created CinemaDNG, it’s an open standard they aren’t really gung-ho about developing so I can only bet it’ll take a bit for them to catch up.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

I don’t believe so, the clip will need to be deleted before you can continue to roll over the clips.

The rolling edit tool affects clips on both sides of the edit so it treats each as blocks you want to keep, rather than one block overwriting the other.

Maybe a suggestion to Adobe to add an overwrite edit tool, but for now no dice.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

If Final Cut X can export OMF files then Audition should work without an issue.

OMF is an interchange format used by ProTools and you can create self contained files (files that hold all your audio clips, I think there is a 4gig size limit) or a reference file that point to all the audio files and contains the audio mix.

I’ve had no issue going between Premiere, Audition, and Protools with OMF, so I would be confident in saying that Final Cut X can do the same if it exports that format.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

Go to Menu Bar > Edit > Keyboard Shortcuts… and scroll down a bit to find “Play In to Out”, this is the shortcut you’ll need. Feel free to assign it to an easier key combo.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

I have the exact same problem. I don’t think it’s correctable without a bug fix because I can’t even render the timeline, let alone export the movie. This leads me to believe the issue is deep.

But report for Red Giant I say.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

You cannot export complicated sequences, at least not in one go.

Going to File > Export > EDL will export a list with most of what you want but it is limited to one video track and, I believe, 4 audio tracks.

It creates a text file with the extension EDL (it’s very human readable, pop it open in a text editor). If you need to convert it to a true spreadsheet, open it up in Excel… I believe it’s a tab delimited file so it should come in very clean.

If you have multiple video tracks, you may have to export an EDL for each track and do some manual work in Excel to organize it how you like.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks