[Will Fiennes]

Thanks for your reply James

Hmm. It seems strange in this advancing world of metadata that we can not export that data in some sort of tangible format. We really just want a sequence report with all the extra data we have added so then our production team can go through the cut and start the process of licensing. Of course we could export an edl and bitc QuickTime but that does not help them find out the source…

on we go

Edit Assistant/Assistant Editor/Film maker

[Will Fiennes]

I always modify Source and apply a tape name (which is just the name of the card)

I also add a disk label, which is just the name of the drive that the original files are coming from.

They both help to relink as for example if you ended up for 4 xf cards all with the same clip names and all starting at 00:00:00:00 timecode it can cause the odd issue.

I would say otherwise you are good. If you are using quicktime based material, e.g Gopros 5D’s etc then some timecode stamping is a good idea as again you can end up with dup tapenames and timecode.

Edit Assistant/Assistant Editor/Film maker

[Will Fiennes]

Well well….If true that is crazy. So you can not shoot 4k and then watch your rushes back, as you can in say Red Cine x Pro?

That solves the issue then, or if not solves it then at least clears up that we are not just doing something stupid. Any suggestions other than ingest into an NLE on how to watch these files back and get timecode information etc?

thanks for your reply

W

Edit Assistant/Assistant Editor/Film maker

[Will Fiennes]

In my very very limited experience with Red, any Transcoding without one of these https://www.red.com/store/products/red-rocket – is a nightmare. I once tried to convert a 1 minute file as a test on a fairly new mac pro and it took almost an hour…..ouch