[Job Ter burg]

I thought the idea was that we share not just the problems/challenges but also the solutions here. I’d much prefer the both of you to keep your discussion on the forum pages. I know I’m interested in what your workflow suggestions would be.

[Job Ter burg]

The video quick tour you watched is about using MetaFuze to get DPX files into Avid media. With R3D files, you cannot apply or modify the LUT, there is always a straight LUT conversion applied from RedSpace to Rec709.

Here’s a nice tutorial on MetaFuze specifically about Red files:
https://community.avid.com/forums/post/418673.aspx.

I’d recommend checking out the MetaFuze forum on the Avid Community website. Quite a few folks with hands-on experience more than willing to share their experiences.

[Job Ter burg]

The Aux TC is directly linked to source tape and source timecode. If you are modifying your clips and their source TC’s are overlapping or duplicate, any change to the AuxTC column will be reflected on all instances of that tape/timecode. Although that would not necessarily be the case if you add the AuxTC to subclips.

[Job Ter burg]

Currently working on two Red-originated features, just finished a 40 min TV-movie with Red this summer. All MetaFuze->Avid->DI (BaseLight, Scratch).

– I’ve used my MBP with MetaFuze in BootCamp, Win Vista Biz 64-bit. Works fine. Also used it on an iMac through Parallels (ot supported, but it works). It’s supported on VMWare.

– The RedSpace is being converted to Rec 709 by MetaFuze. That looks pretty dull. Easiest is to add an S-curved color correction in Avid.
Currently, you cannot apply or modify LUTs for R3D files in MetaFuze. You can apply RLX files (generated by for instance RedAlert). These can be used to grade the shots. But you’d have to do that one-by-one. Not too practical. Better to add the overall grade.

– Sound from the Red can be transcoded along with picture. That said, usually sound mixers prefer to use their own recorders. Most of them are not too fond of the Red as a sound recording device.

It is wise to copy the name of the resulting clips into the Labroll or Camroll columns. The Tapename is the “old” Red filename, the filename is the actual current filename (there’s a slight naming convention issue). When doing EDLs you need to use the Red16 template in order to be able to use the full Red filename as EDL source name.

[Job Ter burg]

1998. Great machines.

[Job Ter burg]

One more thought: it doesn’t have to be film school. In my everyday working life, I’ve encountered quite a few filmmakers (directors, producers, cinematographers, etc); some went to film school, others may have studied arts, theatre, economics, while others started out in other careers, like music or photography. All of them fell in love with filmmaking, dedicated them to it, worked hard and learned a lot from their teachers, coworkers and colleagues.

[Job Ter burg]

I’m with Shane and Terry. There is something to learn.

Also, this industry is about networking. This starts in film schools as well.

If you can land a great AE position somewhere, you might be able to get just as far, just as fast. But often it is easier to land those jobs if you have had some education.

Learning the software is the least important part of the equation.

[Job Ter burg]

Should run fine, but you need to make sure you are on the right version of the Mac OS and Quicktime. See https://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=267087.

[Job Ter burg]

Is that a typo in your OS? Should be 10.5.5 or 10.5.6 or 10.5.7 for MC 3.5.1.

[Job Ter burg]

Usually, people apply a 16×9 mask (.75 V-size) to the 16×9 sequence, so it becomes around 2.35:1.

I pretty much always ask the camera department to shoot a framing guide for me. I use that to determine the exact framing mask.