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MillimeterBeta Sight: Avid and Red Digital Cinema
Nov 1, 2008 12:00 PM,
By Igor Ridanovic
Kappa Studios
An integrated Red workflow redefines postproduction at Kappa Studios.
The solution
In our case, we used MetaCheater, an application that extracts metadata from QuickTime movies (reading filename, reel ID, and timecode) to prepare files for Media Composer, and a combination of tools for the creation of .dpx files for Avid DS. The back-end tools we used included Monkey Extract's latest beta version as well as a proprietary software application we developed in order to address any metadata inconsistencies. Monkey Extract is an application that facilitates Red RAW transcoding to DPX or other standard file formats via an EDL.
Several new features in Avid DS v.10 fit well into most Red workflows such as the improved color management in 4:4:4 and 4:2:2 domains. These realtime capabilities, especially with the extensive debayering in Red workflows, are a huge timesaver so we can deliver what the client expects in terms of speed and accuracy. Kappa used custom-built 3D look-up tables throughout the project.
File-based conform on the new 64-bit Avid DS workstation is quite fast and allows us to use folders as reel names, which adds much-needed flexibility when dealing with the Red file names.
Avid DS can now use Avid's AFE format for file-based conforms. Color-grading workstations typically rely on EDLs to import projects. Using EDLs is limiting because it can accommodate only straight cuts, simple transitions, and some speed changes. The AFE connection between Media Composer and Avid DS passes most of the effects information to DS and reduces the need to manually rebuild effects and titles — dramatically improving the old process.
The compositing environment within Avid DS is especially effective for last-minute changes and fixes. For example, Heist required a complex moving-camera-boom-reflection removal and a large number of muzzle flashes that we could easily accommodate up to the last minute with DS.
The near future
The Red workflow can be overwhelmingly complex, but most equipment manufacturers are working on creating new solutions that will streamline the process. Avid's announcement of MetaFuze support for Red .raw files will automate the conversion of .r3d files to DN×HD media for HD offline or finishing — to be edited like any other film-based project. Additionally, the Avid DS Red RAW importer will greatly simplify and standardize the process by offering the full range of Red-based adjustments, such as color temperature, ISO speed, optical low-pass filter processing, and curve adjustments.
Until then, we are taking the same approach as a service provider as we did before the advent of Red by providing the bridge from acquisition to completion as directly as possible. We also bring together Red aficionados through Red User Group Los Angeles and educate the entertainment industry professionals through Kappa Studios' Red Boot Camp classes.
Igor Ridanovic is a digital-intermediate supervisor at Kappa Studios in Burbank, Calif., and a co-founder of Red User Group Los Angeles.
Continue the discussion on “Crosstalk” the Millimeter Forum.