FCP to Color for Consolidate, then DaVinci

[Uli Plank]

Use x.264 instead.
There was a thread started by the man himself (with massive criticism to Apple's ignorance regarding gamma shifts), when Jim wanted to show us some footage under "Recon" and there was a consensus in the end that x.264 solves the problem (but not in QT player).

 

[David Battistella]

Rosario,

I want to get this straight becasue there are a lot of questions in your orgianl post.

I am reading that you want to maximize the quality of the 5D footage for online purposes? 5D to RGB space by not using L&T of FCP.

Is the edit happening in FCP?

With FCP X and 5D material is is possible to do the following.

-edit proxy or optimized media
-export PR 4444 QT MOVIE
-OPEN finaihsed movie in REsolve.
-Use the shot detect feature to generate the cuts
-grade in Resolve, Export PR 4444 file of the CC master.
-OUTPUT to tape using FCP 7 and KONA or DECKLINK

FCP 7
Transcode all media to PR 4444 from the 5D
Edit
Follow the same steps as above after the edit

PREMEIERE PRO

EDIT 5D natively.
EXPORT EDL
IMPORT EDL to RESOLVE and relink in RESOLVE to Origianl media

This is for 5D only.

If you have to MIX 5D and RED then the workflow changes completely.


David

 

[Thomas Worth]

That is disappointing news.

I suppose I'll keep using 5DtoRGB for now.

Are the Adobe tools using another h.264 decoder? If so I can probably transcode there.

Yes. CS5 uses the MainConcept decoder, but it has the same problems with chroma smoothing as the QuickTime decoder. The chroma smoothing problem is fixed in CS5.5, so if you want to use Adobe products, definitely use CS5.5.

Use x.264 instead.
There was a thread started by the man himself (with massive criticism to Apple's ignorance regarding gamma shifts), when Jim wanted to show us some footage under "Recon" and there was a consensus in the end that x.264 solves the problem (but not in QT player).

The "no8x8dct" option in x264 helped with the gamma shifts for me, at least on a Mac. I had problems with gamma looking different in Safari vs other browsers, though.

 

[Rosario Balistreri]

Rosario,

I want to get this straight becasue there are a lot of questions in your orgianl post.

I am reading that you want to maximize the quality of the 5D footage for online purposes? 5D to RGB space by not using L&T of FCP.

David

Thanks for the reply, but in these days other users solved some question and now i'm at that point.

I don't know if the editor is using Premiere Pro 5 or 5.5.

If it's 5:
Edito natively or how it want to edit;
export an offline, and an xml.
Import xml in FCP, generate cut list, convert the H264 files in 5DtoRGB for the best chroma smoothing to Prores 4444 1920x1080.
Reconnect in FCP with the newest files.
Consolidate from FCP in ProRes 4444 again. for hard disk saving (it's like 7 timelines of 20/25 minutes each one)
Send the FCP's XML to Davinci and grade.
Export Apple Prores 4444 1920x800.

In this way the H264 transcoding is made by 5DtoRGB and not by Davinci or FCP.


If it's 5.5:
It's convenient to export all the timeline in uncompressed 10bit and then import it in Davinci?
Then cutting with EDL or scene detection.
Grade.
Export Apple Prores 4444 1920x800.

or the prevues is better?

The most important thing for me is chroma smoothing. and have the transcoding made by 5DtoRGB


No, for this one is 5D only, of another one could be mixed footage.
Based on which is the machine that i'm using, i'll choose if leave R3D or pre grade in RCX and export Prores 4444.