This thread is now confusing me more than ever with the Red workflow.
I know that everybody has a personal workflow but all that seems frankly (unnecessary?) messy between convertions.
- Why not cutting directly with FCP7 with the proxies generated by the camera, grade re-linked RAW with a 700 euros DaVinci lite (saw it exactly 699 euros today in the crane supplier), and from there render to whatever?
In regards to RED workflow, the whole idea, IMO is to be able to make pleasing, matching prorezz clips that can be first used for editing, then manipulated to the style of the edit and overall motion piece.
To me using any of the .mov proxies is out of the quesiton because the color is way off and their is no noise reduction. I don't want to start a client edit looking like that.
Whether you set the color in camera (any camera), or in a processor like Scratch, Cine X, etc. it's rare if you don't have to go back to the files, (either the processed prorezz or the raws) and do some more work.
I think that's where X will overrun them all because right now their color correction is good and I assume will get much more detailed.
Maybe X will eventually run a 4k RED file, though I don't think it's absolutely necessary as any photographer, director, dp or editor always wants to change imagery for that special look.
In regards to FCP X.
I don't think I or anyone should take a 1.0 NLE and try to do heavy lifting with it.
I don't mean to get off track here but, Apple is smart and nobody but them knows where X is going, at least nobody I know so most people take a wait and see.
It has some great assets like the browser. The browser is amazing and all the other standard NLE operations like markers, keyframes, etc. are good, different but good.
X still has bugs. I just arrived in LA tonight and moved the edit to another machine. Since I had ingested the project at full rez it came up on the screen first thing and I could continue to work, though in the middle of it all the clips on the timeline went to black and white.
They show up in the browser as color and the view window as color but in the timeline B+W. I'm sure the next time I restart the computer they'll come back up, but right now, this program is just too new for me to risk a serious project on.
You still can't change a clip, work it in a color suite and replace the clip in the edit and have it connect which is kind of strange given a lot of people do work outside of the NLE once the final cut is locked.
Still, running X on a machine for the price is a no brainer and it's worth it for some quick functions, like a quick color key, or effect.
I've been running X on an I7 Imac and tomorrow our 12 core comes in. The 12 core is set up to eventually move to Avid which I may do, though with our deadlines I'll stay in 7 until I have more time.
Avid is fine, but it's not free of issues either or a long learning curve and whether it's Apple, Avid or Adobe I don't have a great deal of faith in any tech company playing nice with the other.
Googles recent purchases kind of signals that the major players are trying to emulate Apple and move to a proprietary world.
Regardless, Avid, Edius, FCP Classic, Premier is old think and based on the "go to another program to do any serious effects process", put it in the timeline to see if ti works, then do it again.
I think FCP X is a thought beyond that.
Everybody is talking about Apple today but you have to really hand it to Apple because they have the ability to look at the way people do things and completely ignore the normal process. They go their own way against the advice of everyone and though I don't have a crystal ball, I think eventually X will make a much bigger change in NLE than FCP Classic ever did.
This time it won't be a price comparison between a $100,000 NLE vs. $1,000 FCP desktop, it will eventually be a change in productivity, creative speed and the workflow we change to. Also the ability to work as fast as you can think.
I'll admit I was way against X when it was introduced, as all I wanted was a faster FCP 7, but I jumped too soon and didn't look past my own keyboard.
Creative editing will always be complicated and take a lot of thought, but if you work X you can see a time when effects, masks, keying, key frames, coloration, stabilization, slow motion, could just become as simple as just dragging the cursor over a clip, making your adjustments it, clicking it and dropping it in the timeline.
Almost as fast as I can write this.
At least that's what I'm hoping for.