[Russell Lasson]

There are some great external SATA cards that can do RAID 5.

Check out: https://barefeats.com/hard93.html

-Russ

[Russell Lasson]

You mean Traveling Masks the rock band on iTunes? 🙂 jk

But seriously, do you mean a keyframed mask or using a alpha or luma matte or something? (It does all of these that I mentioned) Are you referring to something different?

-Russ

[Russell Lasson]

[digitioli] “Now, when I capture the clips in FC6 using log and transfer, it makes them into 29.97, DVCPRO HD 1080 30p, “

If the clips were shot at 1080 24PA, then in the log and transfer window, hit the advanced button (that looks like a gear) and select preferences. Select removed advanced pulldown. This should remove the pulldown that was added by the camera and you’ll have 23.98 files.

[digitioli] “so, old workaround left me with 1920×1080 clips while these clips are 1280×1080. Arrrgh!!! “

If you’re clips where shot at 1080 24P, then you’ll want to use cinema tools to remove the pulldown. But don’t get frustrated that the clips went to 1280×1080! That’s what they’re suppose to do because it’s DVCPROHD. FCP should still recognize it at 1920×1080 (stretching the image). If QT doesn’t recognize it, which is sometimes the case, the you can change settings that it displays in the visual settings of the file (Window-Movie Properties- Video Track-Visual Settings – uncheck the Preserve Aspect Ratio and change the width to 1920).

-Russ

[Russell Lasson]

FCP doesn’t like MP3 files. I use iTunes to convert them into AIFF files at 48K. I’ve tried a couple of other ways, but iTunes seems to do the best conversion.

-Russ

[Russell Lasson]

[Wolf Austad] “Oh, and I am not really a post guy. Just a DP who care about my images… “

Some of the most knowledgeable post people that I’ve met have just been DPs “who care about their images.”

I’m in contact with AJA support discussing this right now. I’ll keep you updated with what I learn.

-Russ

[Russell Lasson]

If you create a new FCP project and put some new clips in, is the canvas still green?

If you export an XML of your timeline and import it into a new project, is the canvas still green?

If you use the render manager to delete all of the render files does that help?

What type of footage and codec are you working with?

-Russ

[Russell Lasson]

[Tcurren] “My understanding of AJAs handling of DPX is that it doesn’t really change anything. It wraps them into a reference QT movie, but it hasn’t altered them.”

That’s right.

[Tcurren] “If you are expecting to work and render in FCP in 10 bit RGB LOG you are out of luck unless you know some trick I don’t.”

So with AJA 10-bit RGB LOG codec and DPX files loaded in with QT wrappers, if I render a title or dissolve or something, does it render at 8-bit RGB or 10-bit RGB LOG? (sequence is set to 10-bit RGB LOG.)

-Russ

[Russell Lasson]

[Tcurren] “Using Redcine, make 2K DPX sequences from your Red footage.”

Are you saying that I would end up with all of the footage in 2K DPX files and then edit them in FCP at 2K. That would be like 42TB of footage. (if the film had 60 hours of footage). I’m familiar with the “supported AKA Scatch” workflow currently. The production company that I’ll be working with is shooting in Mexico for a spanish release and I”m not sure if they have access to a Scratch system. (Tax incentives might prevent them from taking work outside of Mexico)

As far as using FCP to edit Redcode, it currently works, but you can’t render in a Redcode timeline. But it does playback natively without rendering. So if you only need to make straight cuts, then you’re fine.

anyways,

I appreciate people’s interest in the Red workflow, but my real question isn’t about Red. It’s about the AJA 10-bit LOG RGB codec and how it differs from DPX and the AJA 10-bit RGB codec. Does anyone have any information about this? I’ve emailed AJA support and haven’t heard back yet.

Thanks,

-Russ

[Russell Lasson]

Thanks for your input guys.

I completely agree that for any video output at 1080P, ProRes is a great option.

I’m currently working with a RED owner to help figure out a film out workflow (hence the want to use Log.)

What I’m wondering is if I can use the AJA 10-bit LOG RGB codec to confrom in FCP. Then with a Kona 3, play it out to HDCAM SR over dual-link. Then with the EDL, we could really take it anywhere for color.

The other option is to export DPX 10-bit Log files, use glue tools or DPXtoQuickTime Translator to conform in FCP. Then the output to HDCAM SR.

If I do this, then when I render effects/transitions, will they render at 10-bit LOG or just 8-bit RGB Lin?

Thanks!

By the way, having played with a REDONE and the footage coming off of it, I can tell you now, the future has arrived. NOW WE JUST NEED A WAY TO EDIT IT!!!!!!!!!

-Russ

[Russell Lasson]

Another question…

With the Kona 3 installed, can I use Glue Tools to import a DPX sequence and play it back without having to render using the AJA Kona 10-bit RGB codec? (lin or log?)

Or would I have to use the AJA DPXtoQuickTime converter?

Thanks!

-Russ