Dylan Reeve
Forum Replies Created
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Shame I don’t write more content…
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And while we’re at it,
https://dylanreeve.com/resources/framesizes.zipPSD files for 576, 720 and 1080 showing all EBU frame guides (16:9, 14:9 and 4:3) within 16:9 frame.
Choice as, bro.
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Our process has been cut in Avid from Proxies, export EDL, batch process with REDline, then take EDL and DPX sequence to Baselight.
While I haven’t graded any in Color yet, I have been able to import and relink the DPX sequences against the EDL in Color at 25fps without any obvious errors. No speed effects and anything complex though.
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Neither way would work totally in a transfer via EDL.
The nesting won’t work at all. You could export an EDL for the nested sequence separately, but that’s not really practical.
The export/import method (essentially the same effect as a Video Mixdown in Avid) is another option. However I would put it on a video layer above your underlying layers, that way you’ll still have the stuff on V1 and V2 that builds the shot, and you can work on the comped effect on V3 as a standalone clip.
The thing that I really miss about the Avid effects paradigm in FCP is the clarity. Using either of these methods in FCP results in sequences that are somewhat unclear – with a ‘baked’ shot you have no reference back to the original at all. With a nested sequence you have some reference back to the edit, but it’s not clear without going into it what is happening there. I can always see exactly what’s going on in a single timeline in Avid, that isn’t really the same in FCP at all.
Personally I’d really like to see FCP offer some way of doing something like the effect-on-filler thing in Avid, which would more aptly be viewed as an adjustment layer I suppose.
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[David Roth Weiss] “Don’t cut off my head, I’m just the messenger, I didn’t create the message…”
Sorry David, of course I understand that. Seems like a bit of a cop out to me, that’s all. There’s no shortage of computing power in these modern boxes.
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[David Roth Weiss] “According to Larry, the rapid graphics updating required to display the scrolling timeline is such a resource hog that it would compromize realtime performance.”
I call BS on that. I have a scrolling timeline in Avid Media Composer on the same computer with no impact on realtime performance at all. I’m not using it right now, but I believe the timeline isn’t completely redrawn as it scrolls, some things are left off, but the clips are clearly evident as are effects and other useful bits.
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Anything that supports an extended desktop would work. You could just chuck a second NVidia display adapter in and set it to 1920×1080, get a DVI -> HDMI converter and roll that way.
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Unless I’m missing some things (entirely possible I’ve been in a dark room with only minutes to spare here and there for the last month or two) the MXO won’t work for grading. It works in the same way the BMD card does, but leveraging the ‘Fullscreen’ mode in Avid, which will only work in the editing Toolset, not in the grading one.
So while you could use it to review afterward, it wouldn’t be live during the grading itself.
With the Mojo you will still be able to finish in HD, you just need to set the project type to the appropriate SD mode when you want the Mojo to work. It will do a realtime downconversion (although performance is limited).
As long as you have the project set to an HD type when you import all the source media will be HD, andy renders you make when in the SD mode will be SD, but can easily be deleted and re-rendered for a final output.
For bulk conversion for RED files I’m looking forward to Linux version of REDline, although the current REDline implementations don’t support DNxHD, that is only available from REDCine, which is available in Windows.
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Well monitoring with a BMD DeckLink HD Extreme or Matrox MXO is possible with Avid (using a combination of their OS support as a display and Avid Fullscreen playback option). It’s not perfect, as there is sometimes a refresh line visible in the image, and it’s only available in the editing mode, not colour correction.
Alternatively, a second-hand Mojo or Mojo SDI can provide a perfectly usable monitoring solution if you are happy to monitor in Standard Def.
I see you’re working with RED media, which is cool. At the moment the workflow with RED in Windows is somewhat more complicated than in OS X, but it’s certainly not impossible, and will improve substantially in the near future.
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The main difference between the AJA and BMD cards for FCP and the DNA/DX hardware for Avid is hardware acceleration. The cards in FCP are really nothing more than I/O devices. There are a few realtime filters with the AJA stuff I think, but overall in FCP there’s still a lot of rendering for reliable playback even on simply things like graphic keys.
The Avid hardware on the otherhand has native support for Avid’s codecs and with the software works to provide improved and (generally) reliable realtime playback.
In Media Composer with an old Analogue Mojo I can get 2-3 streams of realtime 1:1 PAL, three matte keys and a colour correction in realtime. I probably wouldn’t just to tape without rendering some of it, but for client preview and my general workflow it is very efficient.
With DX hardware performance will be similar for HD.