Working with Red Camera Files in Avid
You can complete Red camera projects in an easier and more convenient way with Avid Media composer. The highest possible quality with finishing and editing solutions is provided by the software program. Avid Media composer allows you to speed up Red workflow with the new Avid Media Access that doesn't require the use of Meta Fuze. All the original footage is scaled to high definition frame size, allowing you to have full access to color management and full metadata.
Avid Composer comes with a Red rocket option, which allows you to accelerate the transcodes to HD. Red Rocket option comes in Media composer and the Avid DS 10. The software works both on PCs and Macs, allowing you to adapt the solutions provided by Avid to fit the workflow the best way.
Red files can be edited with the Avid editing program, maintaining the ultimate conform. You can finish it in Avid DS, which is the most reliable and efficient solution for complete finishing in any Red project you might have. Finishing is possible anywhere, whether managing extensive meta data for Red camera files and HD, or finishing DPX using third party solutions or one of the most reliable Avid products.
Avid allows you to track files simultaneously. It saves time with the ability to track TOD ( time of day), the edge code and the time code at the same time. Avid software programs allow you to preserve the color, maintaining and passing through all the colors parameters you have created.
Avid also allows you to use multiple references, with different
combinations of source references in DI conform: the edge code, the time
code, the DPX frame count and file name, in addition to the Red camera
file name. You can also give your clips the name you want, giving them
descriptive and meaningful names that do not restrict the conform
Whether using Avid Media Composer or Avid Symphony, you can access several applications that can work natively with the Red files created by red one camera. Avid recently demonstrated the anticipated software with the Red camera files. It focuses on the existing Avid workflow, which is flexible and operational through the Avid software programs that exist already. What has changed is that although some Red camera projects could be completed and finished with the Avid programs and tools available, the new Avid workflow can simplify the needed processes and steps.
The existing tools and solutions revolve around the Avid program's inability to read the time code of certain types of files. Users have been able to edit the files in Avid Media Composer, but they had serious trouble translating the final sequence in to the Edit decision list. The new Red camera file workflow that was presented gives editors the chance to work in a user friendly environment without adopting the complicated intricacy of XLM files or workflows consisting of several steps.
The new Avid workflow will allow users to work much faster, finishing the projects with fewer interventions to fix effects or timeline tracks.