Glue Tools, LLC announces new AVID AMA plugins are now available for both ARRIRAW and Phantom CIne files

News: Glue Tools, LLC announces new AVID AMA plugins are now available for both ARRIRAW and Phantom CIne files:
Glue Tools, LLC announces new AVID AMA Plugins are now available - ARRIRAW AMA and Phantom Cine AMA for both Mac and Windows.

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Pixar’s USD system: the new super-Alembic?

Pixar’s USD system: the new super-Alembic? | CG Channel:
Pixar has posted some interesting information on its website about its Universal Scene Description (USD) system, used on its last three movies, and intended as a higher-level counterpart to Alembic.

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An overview for a Smoke/Flame pipeline from Avid to Resolve to Smoke via XML

An overview for a Smoke/Flame pipeline from Avid to Resolve to Smoke via XML | wolfcrow:
Johnny Fegan presents an “overview for a Smoke/Flame pipeline that starts with Avid(Editorial), sent to the Colorist(Resolve), and conforming the final Smoke XML sequence with both the RAW footage and the Graded footage.”

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A FREE FCPX workflow tool that delivers your entire timeline to After Effects

A FREE FCPX workflow tool that delivers your entire timeline to After Effects | GLJ Media Group:
A simple post-production workflow tool that delivers your entire timeline to After Effects or batch exports selected clips as Quicktime movies or Nuke files. Free and open source.

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A Conversation with Cédric Lejeune – Color Consistency in Post-Production Workflows | Tom Parish

A Conversation with Cédric Lejeune – Color Consistency in Post-Production Workflows | Tom Parish:
Up next is a conversation with Cédric Lejeune on the topic of color consistency in post-production workflows. This is a big topic, and it would be easy to drill down into a dozen different niches. Instead, I gave Cédric an opportunity to talk about the issues and opportunities for small post-production companies to focus on color calibration, color correction, and color grading to increase the value of their work and be more competitive.

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Avid and Resolve use Metadata to link to Essence

Avid and Resolve use Metadata to link to Essence:
A container, like a glass containing liquid. That glass would be the metadata and the liquid in that glass would be the essence. I want to replace low quality liquid with high quality uncompressed master resolution liquid.

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Avid Media Composer to Assimilate Scratch Roundtrip Workflow

Avid Media Composer to Assimilate Scratch Roundtrip Workflow | Premiumbeat.com:
If you’re doing high end post production work, chances are you might be using both Avid (for editing) and Scratch (for color grading and compositing). The video tutorial below demonstrates how to bring your Avid video editing projects into Scratch for finishing.

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The Avid-Red Workflow (Part Two): Finishing from Avid Media Composer

The Avid-Red Workflow (Part Two): Finishing from Avid Media Composer
In Part One we looked at how to process R3D files in Redcine-X Pro to Avid Media Composer. In this part of the Avid-Red workflow, we’ll look at how to round-trip from Avid to Redcine-X Pro, and also how to work with the AMA workflow for Red.

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The Avid-Red Workflow: From Redcine-X Pro to Avid Media Composer

The Avid-Red Workflow: From Redcine-X Pro to Avid Media Composer | wolfcrow:
Red cameras shoot 4K and above (though you can shoot low-rez footage too), and the typical challenge is in dealing with R3D files in their RAW format until the last possible moment. Some applications like Adobe Premiere Pro can deal with Red files natively, and create projects that match those specifications. Avid Media Composer cannot create a project greater than 1080p.

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Codex Inrtroduces Codex Backbone and Production Server

Codex Inrtroduces Codex Backbone and Production Server by PVC News Staff:
The Codex Backbone is a hybrid system with productions taking advantage of local appliances – Codex Production Server - along with the distributed hardware of the Cloud through the Codex Backbone. Based on the proven technology of the Codex Vault, the Codex Production Server is a repository for all digital files and metadata generated during principal photography.

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The Adobe Premiere Pro to Autodesk Smoke Guide

The Adobe Premiere Pro to Autodesk Smoke Guide | wolfcrow:
There are few scenarios where one might want to move from Adobe Premiere Pro to Autodesk Smoke, and the strongest reason might be to take advantage of the native editing ability of Premiere Pro and the node-based compositing ability of Smoke.

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Missing Link between Canon 5D and Avid

Missing Link between Canon 5D and Avid by Steve Hullfish:
So, I’ve had my Canon 5D Mark II for a few years. I’ve used it on a few jobs that I’ve edited on Avid Media Composer or Symphony, but I never really cared whether the TOD timecode and other metadata came across from the .THM files that accompany the .MOV files that come from the 5D. I always either just used AMA to link to the .MOV files or imported them and converted them to DNxHD files (MXF) inside the application, losing all of the metadata of the .THMs.

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AMA MASTER GUIDE

AMA MASTER GUIDE.pdf:
AMA stands for Avid Media Access. This technology—featured in Media Composer, Symphony, and NewsCutter software—enables you to integrate file-based media into your editing workflow quickly and easily. Unlike tape-based projects, in which you’d capture your video from tape to bring the footage into an NLE, file-based formats don’t require you to capture material to begin editing it.

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How to Transfer a Project from Final Cut Pro to After Effects

How to Transfer a Project from Final Cut Pro to After Effects | wolfcrow:
This article will show how you can transfer a project from both versions of Final Cut Pro to Adobe After Effects.

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Some best common practice DCP color space workflows part 2

Some best common practice DCP color space workflows part 2 | Knut Erik Evensen - KESE:
in 2011. I tried to find some good sources on DCP color space workflows. In this part 2 I want to go into more detail on these workflows and clarify some things:

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Quick Tip: Fixing (Some) FCP to Premiere Problems

Quick Tip: Fixing (Some) FCP to Premiere Problems
Here’s a quick tip I encountered a few hours ago: I was moving an old FCP7 project to Premiere Pro CS6 through XML, and the import kept freezing/crashing Premiere. It was a large project with 500+ clip of P2 DVCPro HD footage transcoded to .mov in FCP. I did a little research and found this post.

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Importing a Final Cut Pro Project to Adobe Premiere Pro

Importing a Final Cut Pro Project to Adobe Premiere Pro: 

Video editing is often a collaborative process. You may need to work with someone else’s editing project that was started using Final Cut Pro. Adobe Premiere Pro is a very flexible editing solution. You can easily import projects and media started on other edit systems. For example, moving a project over from Apple Final Cut Pro is a snap.


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Tips for Workflow & Encoding AVCHD Video

Tips for Workflow & Encoding AVCHD Video:
In this post, we've rounded up the bestFREE apps and workflow tips for transcoding your AVCHD (.mts) files for video editing.

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Simple post processing of 5D Mark III RAW footage in OSX

Workflow video: Simple post processing of 5D Mark III RAW footage in OSX « cinema5D:
You have probably seen our extensive written guide on how to get Magic Lantern’s 24p working on the 5D Mark III, which also includes a step-by-step instruction on how to end up with usable ProRes 4444 files.

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תהליך העבודה עם קובצי 5D שעברה שינוי חומרה

תהליך העבודה עם קובצי 5D שעברה שינוי חומרה:
ברשת מדברים בשבוע האחרון רבות על שינוי החומרה של מצלמות 5D (גרסה 2 או 3) שמאפשרות היום הקלטה של 1080p, 24 ביט ב-RAW. הבעייה היא שלא ניתן להעביר את הקבצים ישירות למערכות עריכה, אלא יש קודם להמירם מ-RAW ל-DNG. הוויידאו המצורף מתאר בצורה מהירה את תהליך ההמרה.

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