Forgive me for being a RED noob, I have seen a lot of postings on this forum about using AMA to transcode, edit and then conform back to the R3D files..Is there an advantage over using this workflow over a REDCINE-X workflow?
I am under the impression you lose RED RAW color data with the AMA route, and what would you even export the final conform from AVID as? The whole conform in REDCINE X or Resolve Lite is really a mystery to me (seeing as though I have done neither). What file do you finish with in order to then convert for the Internet, DVD, Festivals, etc?
I've never cut anything on RED, but will be doing so this summer, with the EPIC.
Keep in mind, that currently, Red Epic is compatible with AMA in MC 6, but the audio associated with it is not. If you're shooting double system audio, that's fine, but if not you need to use Red Cine X. In my case, I'm cutting an independent feature that was shot Red Epic. We're going to master HD, and they don't currently have the budget to color correct at a high end facility, so we're not going back to the R3D files, so I created MXF media at DNxHD 175x, and my offline will be my online. (Fortunately, they didn't shoot a ton of footage because the filesizes are large at DNxHD 175x) The Red Epic did have quite a lot of issues with stability and overheating which caused a lot of shots to either be totally corrupt or partially corrupt. In those cases, I need to use Red Cine X to create DPX seqeuences, then I would use AJA's DPX converter to import those into Avid, and I'd have to create BWF files to get the camera audio in a second pass. Hopefully you won't run into those issues, but if you do, that's what I used to remedy the situation.
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I would say the AMA workflwo is a little easier to operate than the RedCineX if your used to Avid. I used it for a Red One feature last year. I AMAd the footage into Avid, transcoded to DNxHD36 for the offline then relinked back to the RAW footage for the online. At this stage you have two options; 1) Send the seqeunce to a program that can grade r3d files at full (or higher than HD res) 2) Transcode the sequence back the DHxHD but at a higher bitrate and then grade in Avid or in another programme at HD.
If you're going for the second option, you need to play with the source settings for every clip to get a good starting point for grading. RedLog is really a must if you want to preserve all the detail that the camera captures.
The only real benefits of RecCine are that you can install it on anathoer machine that you do not have Avid on, and it will do better with corrupt clips.
Avid Certified Instructor - MC5.5
Apple Certified Trainer - FCPX
Thanks for all the help guys..If anyone wouldn't mind elaborating on the AMA online process, after re-linking to the AMA files, how would you send a file to a colorist (not using Avid), all while maintaining original color data? Can you output an .r3d file from Avid? Certainly any DNxHD flavor loses much of the color information when transcoding to that codec. Thanks again.