This is the fifth of several episodes covering a workflow for using Red Digital Cinema Cameras with your Avid editing application.
In this episode, we’ll transcode Red’s R3Ds to Avid-native DNxHD MXF files using Redcine-X, a free transcoding, grading and editing utility by Red that is available for Mac and Windows.
It’s free, it’s easy and it’s fast. So you better check this out.
The big star of this episode is the new audio interface that provides great sound quality. Listen to the noise! Don’t hear it? See?
In other news, a good old transition that looks like your film projector broke down. Who wouldn’t want that? Especially if it’s so simple to do!
So you have a bunch of subtitles or lower thirds to do. They all look the same, except for the contents. You’re not seriously considering doing them all by hand in Title Tool, are you?
Enter Marquee’s Autotitler, which is here to make your life easy. Honestly, if you didn’t know about this one, you will thank me sooner or later. And don’t be afraid of Marquee, it doesn’t bite! (It may confuse you, but it does not bite.)
In this episode, we’ll create a secondary color correction in Avid Media Composer.
Secondary color correction is applying one correction to the image as a whole, but a different correction to a specific portion of the image. This can be necessary in a lot of situations, mostly when you need a different treatment of skin tones compared to the rest of your image.
This is the fourth of several episodes covering a workflow for using Red Digital Cinema Cameras with your Avid editing application.
In this episode, we’ll conform a sequence that was offline edited in Avid to Apple’s Color, where you’ll be able to grade from the original R3Ds. You will not believe it, but it’s actually a pretty quick and painless process!
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