[Eric Santiago]

I took a break from fixing a mess in Premiere with RED files.

After reading a few posts on this post, I can list a few things that I wish Premiere would just fix period 😛

[Eric Santiago]

This workflow has been annoying for months now using RED files.

I dont understand why it can link like every other app can.

[Eric Santiago]

[Herb Sevush] “Great interview.

Thanks for posting.

Herb Sevush
Zebra Productions”

Agree and a fun read too 😉

I laugh at the dates and think where I was at the time.

Premiere 1.0 on an LC III for me then on a PC using the PVR.

Fun times but I had Avid, media100, FCP 1-3 in-between.

[Eric Santiago]

Resolve 11 and FCPX 10.2.1 with RED files was fine for me of late.

[Eric Santiago]

Animated masks.

[Eric Santiago]

I agree that in broadcast home setups the pillars tend to distract the norm.
But Ive walked into many different types of cinemas from art-house to IMAX and honestly once Im captivated cropping is the least of my concerns.
Its the awful scaling that bugs the hell out of me.
Its nice to see that tv spots are getting better at cinemas.
Sorry Im a bit of a 4K plus freak that way 😉

[Eric Santiago]

Just to add my 3 cents (Canadian currency sucks), at home I work entirely on all three NLEs and to date still find RED files to be smoothest on FCPX.
Ive had to test an 1100+ R3D clip feature for the Director (slash Editor…kill me now 😛 )to see which would be best for him since he’s attempting a rough to final cut on an 2012 iMac.
In the end he opted to go with Premiere since he was comfortable in it.
I however found FCPX almost painless across the board.
R3D and FCPX has always been the best combo I find as far as minimal CPU resources.

[Eric Santiago]

Ive done this with a 2 hour high-school musical for a friend.
One RED Scarlet as snippets and HFS, a GH2 shooting wide and two Panasonics (wasnt my gear not sure what model) all with audio.
Even used a Zoom just in case.
Only the GH2 shot from start to finish.
A few multicam steps got it all on the timeline.
I too would have loved to find a faster workflow but to date never did find anything.
It was still fun to work with at least in FCPX 🙂

[Eric Santiago]

Is there an magnify utility tool in OSX?

I teach FCPX at local college and use the zoom screen option but Id like something thats just smallish window.

[Eric Santiago]

In regards to my question, hbrock at Avid Forum posted this:

Importing files, static images or Quicktimes creates Avid Media. The only way to recreate that Avid Media is to repeat the Import process by using Batch Import as there is no relationship between the source and the media beyond the imported file location. No reel number and no time code means no relinking.

Titles, graphic images with Pan & Zoom moves and rendered effects are alll pre-computes (aka renders). Renders don’t migrate, they need to be recreated if you didn’t move those files to another machine. Generally that’s too much trouble as it’s very hard to determine what pre-computes are used and which ones are no longer necessary, so re-rendering is preferable. Titles need to be re-created by selecting a sequence, setting in and out points and selecting “Re-create Title Media”.

AMA is a more robust alternative to Importing as it uses the metadata of the original source file to create a link to any Avid Media that is created by Consolidating and/or Transcoding. If you brought in your XDCAM sources via AMA (keep those AMA bins!) and didn’t have the Avid Media you could relink to the original source media by doing a relink to AMA sources as long as those clips are online.

Finally, the media database files inside the Avid MediaFiles folder are just a index of how many files the folder should contain (that’s why it re-scans if you add a file to the MediaFiles folder) as well as a what timecode and reel number (or source name) goes with each clip so Media Composer knows what media is online.