Michael Phillips
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COW Coin
Forum Replies Created
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When in setting view, go to file menu and select “New Settings File”. A window will pop up. Drag and settings you want to save off into that windows. Closing it will prompt a save. give it a name and location and away you go. I always keep a version on my dropbox to access as needed.
Michael
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In your scenario, try using AMA to link to the R3D files – the first issue you have is the version of MC will not relink to Epic as that came in v6.
I am assuming you did DNxHD36 for offline out of MetaFuze? If so, you can create a pull list EDL back to Redcine X, correct as needed, then generate new DNxHD 175x media for conform and final finish.
See video at https://www.avid.com/red
It shows workflows for your version of software. Redcine X will be needed due to the version of camera and also gets you to Redcolor 3 color science if desired.
Michael
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While I am/was a big fan of MetaFuze when it came out, it really hasn’t been developed to the full promise of the original plan. But can still have a place in certain workflows.
But for RED files, there is no need for MetaFuze considering Redcine X Pro exists on both Mac and PC platforms, gives you full access to all color parameters and creates native MXF/DNxHD media with AAF and ALE.
That being said, Epic is not supported till Media Composer v6 and Symphony v6. Also, Redcolor 3 has yet to be supported and won’t be till an updated R3D AMA update. And even then, it is unclear as to whether that will with any release earlier than 6.5.
v6.5 does bring relink features for RED spanned files that did not exist in version prior, especially for spanned files so users can now mix methods for DNxHD creation – Redcine X Pro and AMA.
Michael
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I did my export with v6.5. But I suspect it’s the same with 6 and 6.0.3. Open your file in MetaCheater: metacheater.mac.informer.com/download/
Or try AMA’ing to it and see if it sees a timecode.
Michael
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It may be an issue with QuickTime Player. I exported from Media Composer with a 13:00:00:00 timecode and opened it in ProPlayer and MetaCheater and both see the timecode correctly – just not QuickTime Player.
Michael
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Are these sequences or source clips? QTChange from VideoToolShed can do that for you if needed, but Media Composer is supposed to persist the timecode of the source clip or the timeline record side for sequences when exporting. What version are you on?
Michael
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Why does it seem fishy?
There are several dailies systems available to you that can handle DPX as an input and create native MXF/DNxHD at the back end. In a low budget scenario where an editor or an assistant are doing the dailies – then a fully functional system like Resolve is a God-send – especially for free! Each of these systems have their own small advantages and disadvantages, but for the 80/20 rule of making dailies – they are all pretty close. I find the differences to be how much metadata logging you choose to do in dailies, as well as handling of audio, sync and its metadata.
The bigger question is understanding the difference between LUT dailies and LUT + color corrected dailies as they are not the same. I’ve done both for clients and they notice the difference.
I would recommend syncing in Media Composer – I think it still offers the best syncing, resync and metadata support compared to any of the dailies systems, but this all depends on the requirements of editorial.
Dailies can mean a lot of things to different people – just make sure you have all the requirements in place when creating them.
Michael
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I agree that if there are slates, it is much faster for me to just mark the sources and sync/group that way. I filed a provisional patent, and will soon be filing a patent that deals with this very issue of harmonization of sync and metadata. I know the RED Giant folks pretty well and will have a follow up discussion for solutions in this area.
Michael
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Exactly – the format takes on the concept of what TinyURL does for long URL names. It is then up to the system (NLE or other) to interpret as needed on a per frame basis. We are seeing more and more frame based metadata where many vectors change on a per frame basis coming from the lens and motion control world with similar challenges and solutions.
Michael
