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The 4K to Beta SP workflow?

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Jerry SneedeThe 4K to Beta SP workflow?
by on Mar 20, 2010 at 7:49:42 pm

This is not a joke, although I wish it were.

The footage was shot on RED 4K, 23.98fps. The final deliverable will be HD and SD.

The client will be doing the full screen SD version, and we will get an EDL from them and conform the HD version. We are using FCP 7, and also have a Davinci Resolve. The client is using an ancient Avid that for whatever reason can't take in any files off a drive, and must capture everything from Beta SP.

So the question is, what is the best workflow in this unfortunate situation? I've come up with one, but would be interested in hearing if anyone else has a better one.

Here's what I came up with:

I transcoded all the RED Raw through Redcine X with Red Rocket to 1920x1080, 23.98. I then made 9 separate approximately 30 minute timelines in FCP, each timeline's timecode starting from hour 1 through 9. I then used Compressor to create both an SD edge crop and HD 29.97 version of each timeline. I then put each SD 29.97 clip to Beta, each tape starting at the appropriate timecode hour 1 through 9. Now the SD footage captured by the Avid system will have a direct relationship to the half-hour 29.97 HD clips so that a conform from EDL will be possible. The unfortunate part about this is that there is no longer a relationship to the original RED Raw files, so if we give the Davinci an EDL, it will be looking at the HD clips, not the RED Raw files. The only other way I see to do this which would be unpractical would be to export each of the hundred or so RED clips to beta separately with it's original timecode, and have the AVID person capture each separately off tape and name the captured clip the original RED file name. That would take way too long though.

Can anyone think of another way of doing this?







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Kris AndersonRe: The 4K to Beta SP workflow?
by on Mar 21, 2010 at 5:20:27 am

Bummer.

The way you describe seems like a good solution to a bad situation. Is it possible to take the finished edit, cut from the SP tapes you would supply, and then eye match the original RED files into a new sequence, thereby re-establishing the link for grading and online?


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Noah KadnerRe: The 4K to Beta SP workflow?
by on Mar 21, 2010 at 12:58:38 pm

Yeah I'd do a manual eye match to their final edit- charging through the nose for it too. I love how some clilents are so forest through the trees about this stuff. Instead of bending over backwards to force RED footage into an ancient Avid relic they could have spent a couple grand on a lowly iMac/FCP system and gotten a proper 4K RAW finish- especially as DaVinci supports RED natively...

Noah

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Illya LaneyRe: The 4K to Beta SP workflow?
by on Mar 23, 2010 at 1:40:40 am

Can I just laugh out loud at this. I'm just curious, are they working off of 10GB SCSI drives on OS9 too?

Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
Bunim-Murray Productions


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Noah KadnerRe: The 4K to Beta SP workflow?
by on Mar 23, 2010 at 3:19:46 am

Gah- when I was on an Avid it was the amazing "9-gig" that cost you $1,000!

Noah

Check out my book: RED: The Ultimate Guide to Using the Revolutionary Camera!
Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Sony EX1 Guidebook, Panasonic HVX200, Canon EOS 5D Mark II and Canon 7D.
Watch Formosa- My indie movie shot with the SDX900 and finished with Final Cut Studio.


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Stuart FerreyraRe: The 4K to Beta SP workflow?
by on Mar 23, 2010 at 3:32:40 pm

Ohhh the days of the famous Avid Media Dock! They were good though... I learned most of my editing skills on Avids. Gotta be grateful for that :)

Stuart Ferreyra
Timecode Multimedia
Colorist / Post Supervisor
West Los Angeles, CA

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