[Glenn Sakatch]

It is called marketing.

Would you like fries with that as well?

[Glenn Sakatch]

if you select your clips in the bin, and right click and select source settings, you will find a colour management tab, where you can remove the luts.

At the bottom of the tab, you will see an “apply to all” button.

After that, you may need to find the “Update sequence” setting, if you have already cut with the shots with a lut attached, as the sequence will still show the lut, even after you have removed it from the source shots. From memory, i think you right click on the sequence, and you should find an “update sequence” tab. Next to that are options you can update, including Update all, or update colour transforms…or something like that.

[Glenn Sakatch]

The only common delivery that wants 24 would be a DCP for a theatre.

Creating a 24 dcp from a 23.98 master is quite simple

Pretty much every other delivery you will be asked for is going to be either 23.98, 29.97, or possibly a PAL conversion down the road. All of which are easy to create from a 23.98 Universal Master.

I would continue down the road of working in 23.98 until it is time to create your distributables.

And i would make those distributables from a 23.98 master.

(I should add the last piece i did that was shot at 24 had a dcp made for 1 festival, and then was sold to a distributor that said “great, get us a 23.98 master and we are good to go”)

[Glenn Sakatch]

23.98 should not be your issue. 99 percent of my projects are shot and cut at 23.98.

4444 prores 4k…now that is a different story. That is a lot of bandwidth to try to pull off an external drive for an edit. I would suggest you get everything transcoded to dnxhr SQ (or lower) at HD.

Then sync your audio and video

cut your piece

relink to the camera originals

and then output your master version.

There is no need to cut at 4k, except to say “hey look ma, i’m cutting at 4k!”

[Glenn Sakatch]

I do wonder what the time cost will be however. Some of those Topaz outputs take some serious time and horsepower.

i have it setup on a second system, and it can feel free to chug away for hours if needed while i’m doing other shots.

[Glenn Sakatch]

The free version of Resolve will do all you need to do.

I convert to Avid friendly media. Usually .mxf files, dnxhd of some type.

If you don’t want to use Resolve, than transcoding inside Avid would probably be the next best option. There is metadata that needs to be maintained during the transcode process, to enable you to go back to camera original files, if you so desire, for color, or finishing. R3d raw files offer a lot of flexibility when performing color correction operations, that basic rec 709 clips don’t offer.

You have the ability to go back to the original camera settings and adjust the exposure, and color balance, the same way the original camera operator would have.

If you want to look into Resolve’s workflow, I have posted some workflow videos on the topic.

Again, metadata is crucial, and in Resolve pay attention to the timecode and file naming settings, as shown below.

https://youtu.be/2flKWUgMJoI?si=8tyiKDmxvDNioO0h

https://youtu.be/201_Lh8SdIQ?si=jzoYS79YtMxjWMwa

Glenn

[Glenn Sakatch]

Yes, Avid has been able to work with Red footage for over 10 years.

You are going to need to download the red ama plug in.

You will also probably want to transcode, as red files can be a pretty heavy lift, depending on your debayer settings.

I personally do my transcodes in Resolve simply because of the speed of the workflow.

[Glenn Sakatch]

You also have to be very aware of what frame rate your editor is working in for motion graphics.

Stills obviously don’t care.

[Glenn Sakatch]

there is a command to select everything to the right of your curser.

Turn on the tracks you want, and then do a “select everyting to the right”

[Glenn Sakatch]

I use text++ for my ale editing.

Another method you could use would be to unlink the clips in Avid, use the modify clips command to turn off the unwanted audio tracks, and then relink the clips.

I’ve done this when there are way too many blank audio channels coming in from certain cameras or recorders.