After a year of bitching about it, Ive moved to the dark side.

[Mike P.]

LUT's - google is your friend

http://blog.abelcine.com/2012/06/21/applying-luts-to-log-footage-in-fcp-premiere-avid-and-resolve/

Yeah, I read that article and was hoping for a (much) better option than Pomfort -- it's only AlexaLogC-to-709 and doesn't allow you to apply pre-made LUTs like, for example, LUT buddy does in FCP7. I was kind of hoping for something like Apple Colour, where you can apply a display LUT for viewing footage, and then when you render out it asks if you want to leave the display LUT on the render or disable it...

Optimized media defaults to the best it can get out of what is being input.

"Optimized media is almost always ProRes 422. The exception being when transcoding RED RAW which is ProRes 4444.Proxy media is always ProRes Proxy."

from here

http://fcpx.tv/Pages/optimize.html

Yessssssssss...

 

[Terry VerHaar]

None in Los Angeles that I know of. And there are a lot of reasons for that, but basically, what FCPX offers is not what post houses - which, by definition, are finishing houses - need. For all of its strengths as an offline or creative editor, here are just a few things it doesn't do that post houses need:

Create EDL's
Create change lists
Offer a simple way to play the conformed timeline against the offline
Import, play, or export frame based sequences (DPX, Open EXR, etc.)
Import, play, or export Avid media
Allow for a relatively automated conform of an Avid-cut sequence, including keyframes
Allow for painting and tracking effects (I know, Motion does, but not nearly with the precision and flexibility of programs like Smoke, Flame, Nuke, etc.)
Control or play out to VTR's (yes, that's still quite necessary in today's world)

In our world (studio level television and feature post production), Avid is very dominant in the cutting room. For FCPX to make any serious inroads into post houses, it must play well with that. At this point in time, it doesn't.

Last time I looked, Michael Cioni at Light Iron was a big FCP-X fan. I can't represent anything about how, or whether, they use it but he has been vocal in his support.

 

[Dave Blackham]

There was talk when Apple anounced the new mac pro there would also be a new version of FCP, any one know if this is a new product or just new version of FCPX or what ?

 

[Scott Crawley]

There was talk when Apple anounced the new mac pro there would also be a new version of FCP, any one know if this is a new product or just new version of FCPX or what ?

I don't KNOW, however Apple has a huge amount at stake in FCPX. Their intent was that it would be the foundation for Final Cut going forward. With that in mind, I don't expect an entirely new product, but a new version. Primarily what I expect to see is tight optimization for the new hardware. Speculation RE: what new or restored features we might see I will leave to others. ;-)

 

[M Most]

Last time I looked, Michael Cioni at Light Iron was a big FCP-X fan. I can't represent anything about how, or whether, they use it but he has been vocal in his support.

A big part of Michael's agenda is giving tools to individual users. That's what FCPX is doing. I can pretty much guarantee that in his facilities, Pablo is used for conforming and grading the DI projects, and something other than FCPX is used for anything that isn't a DI.

And, just as an aside, although I know and very much happen to like Michael, there ARE other people here who know something about post production.....:glare:

 

[David Battistella]

All this because Mark Toia changed his mind about FCP X.


Have to say, I have great respect for the people and opinions in this thread.

We might as well talk about something while we wait for dragon.

 

[Sam Mestman - WMM]

None in Los Angeles that I know of. And there are a lot of reasons for that, but basically, what FCPX offers is not what post houses - which, by definition, are finishing houses - need. For all of its strengths as an offline or creative editor, here are just a few things it doesn't do that post houses need:

Create EDL's
Create change lists
Offer a simple way to play the conformed timeline against the offline
Import, play, or export frame based sequences (DPX, Open EXR, etc.)
Import, play, or export Avid media
Allow for a relatively automated conform of an Avid-cut sequence, including keyframes
Allow for painting and tracking effects (I know, Motion does, but not nearly with the precision and flexibility of programs like Smoke, Flame, Nuke, etc.)
Control or play out to VTR's (yes, that's still quite necessary in today's world)

In our world (studio level television and feature post production), Avid is very dominant in the cutting room. For FCPX to make any serious inroads into post houses, it must play well with that. At this point in time, it doesn't.

When used in conjunction with other apps such as Resolve, you can actually do most of these things. Also, there are quite a few post houses and productions (even on the studio level) who either have made the switch on some level, or are about to. I know this because they are clients. The fact is that even on the high end studio side, there is very little you can't accomplish if you determine what you need to do ahead of time, and take advantage of the functionality within the app and how it works with other apps. If you are smart about your workflow, and really understand the way that the app works, there is no reason you can't deliver a feature on the studio level, or to a high end post house that has an open mind about how they do things. Over the next few months, you're going to start seeing a lot more proof of concept in this regard.

Just because things are a certain way now does not mean that's how they will always be.

On a side note, contrary to popular belief, FCPX works very well in a group environment. I'm able to get the exact same R3D clip to play in real time across a SAN on all of the latest macs, over thunderbolt, at the exact same time. In order to do this, you have to understand how FCPX and the SAN handle files, but it is more than doable. It's actually easy. I know this because I've done it. It's not a big deal.

 

[Oliver Peters]

You can generate your own proxies using something else and through them into the proxy folder. I have tested this with putting samurai footage in the proxy folder.

I WOULD NOT advice doing this as part of the RED/proxy workflow in X. I tested a few clips today, based on this post. It completely hosed relinking of these media files. X's linking is far more complex than just file names. In general, I am finding the RED/proxy toggle to be a bit unreliable and have thus far bagged it in favor of RCXP transcode to ProRes, just cut in X and relink later - probably in Resolve.

- Oliver

 

[Bob Gundu]

Sorry Oliver, but its fine for me. If you are also having issues with proxies working in general, perhaps there's something else going on.

I WOULD NOT advice doing this as part of the RED/proxy workflow in X. I tested a few clips today, based on this post. It completely hosed relinking of these media files. X's linking is far more complex than just file names. In general, I am finding the RED/proxy toggle to be a bit unreliable and have thus far bagged it in favor of RCXP transcode to ProRes, just cut in X and relink later - probably in Resolve.

- Oliver

EDIT: here is also a thread from way back on the same proxy discussion:
http://www.reduser.net/forum/showthread.php?92779-Transcoding-R3Ds-in-FCP-X-Error-Message

 

[Oliver Peters]

Last time I looked, Michael Cioni at Light Iron was a big FCP-X fan. I can't represent anything about how, or whether, they use it but he has been vocal in his support.

With all due respect, yes, he's a vocal proponent, but with no skin in the game. He's chosen to invest his resources in Quantel solutions, which have a proven track record in delivering big, budget work.

- Oliver

 

[Mark Toia]

Remember the old PROXIE quicktimes the REDONE use to make.. Now they would be cool to use again for editing.
I wonder why RED stopped doing those.

 

[Oliver Peters]

Sorry Oliver, but its fine for me. If you are also having issues with proxies working in general, perhaps there's something else going on.

Have you actually tested this with RED? My specific workflow is to Sync-N-Link X the R3D/Wav files. This uses XML to place the polyWAVs into the audio of the clip (like "open in timeline"). Then I transcode to Proxies in X. So far so good. In the test, I transcoded a file in RCXP to matching specs and swapped one file with another in the proxy folder. Nothing worked. Any attempt to relink also messed up the R3D files.

In addition, transcoding to proxies in X is also unreliable. The app runs out of RAM due to bad RAM management. It took 3 or more passes to get through 100 clips. The app gives you an error message requiring a force quit. Part of the files are transcoded, so you relaunch and pick up where you left off.

At this point IMHO, relinking in X is still a very dangerous process and should never be used as a "creative endeavor", but rather only as intended. FCP 7 and Premiere Pro CC are far more versatile if you need to manipulate the system this way.

- Oliver

 

[Paul Harb]

Calling me a 'feature film hollywood guy' is extremely solid contributing, bravo.

Thanks, what other subjects? I think I have been a pretty solid contributor here, mostly trying to help others. One thing I don't tend to do is get personal.

I'm no gatekeeper, I might have strong beliefs, but I, like you am entitled to them.

David

 

[Johnny Friday]

Does anyone know how we can create linear DPX files in FCPx ? I know we can produce log Dpx, but for digital delivery and not a film print, i and a few others have come up against a wall with FCPx and not to bag on the program.... i actually use it quite a bit now and jumped ship from Premier. But need linear DPX output.

 

[Bob Gundu]

OK just did a test. It works as long as no original proxies were generated within FCPX to begin with. I'm not advocating this workflow as I find it fine working with the raw files. I was simply curious when I originally tested this method using files generated by the Samurai. So as Oliver says... be careful.

Have you actually tested this with RED? My specific workflow is to Sync-N-Link X the R3D/Wav files. This uses XML to place the polyWAVs into the audio of the clip (like "open in timeline"). Then I transcode to Proxies in X. So far so good. In the test, I transcoded a file in RCXP to matching specs and swapped one file with another in the proxy folder. Nothing worked. Any attempt to relink also messed up the R3D files.

In addition, transcoding to proxies in X is also unreliable. The app runs out of RAM due to bad RAM management. It took 3 or more passes to get through 100 clips. The app gives you an error message requiring a force quit. Part of the files are transcoded, so you relaunch and pick up where you left off.

At this point IMHO, relinking in X is still a very dangerous process and should never be used as a "creative endeavor", but rather only as intended. FCP 7 and Premiere Pro CC are far more versatile if you need to manipulate the system this way.

- Oliver

 

[M Most]

If you are smart about your workflow, and really understand the way that the app works, there is no reason you can't deliver a feature on the studio level, or to a high end post house that has an open mind about how they do things.

Well, here's a fairly simple one. How would one go about passing CDL settings from an on set color system through FCPX and delivering them (as soft corrections) to the color system at conform time? That's something we're required to do quite a bit that's a no-brainer if you're cutting on Avid, but a much bigger deal if you're using something like Final Cut (7 OR X)...

 

[Scott Crawley]

Well, here's a fairly simple one. How would one go about passing CDL settings from an on set color system through FCPX and delivering them (as soft corrections) to the color system at conform time? That's something we're required to do quite a bit that's a no-brainer if you're cutting on Avid, but a much bigger deal if you're using something like Final Cut (7 OR X)...

Don't pass them through FCPX at all? Couldn't you come from set directly into Resolve and generate offline editorial files there or alternatively export a string out from Resolve via XML? Then when you come back to Resolve to conform your settings will already be in place.

FCPXML supports CDL as of v 1.1. I presume it would pass it through but I'm out of my depth on that and the documentation I am reading does not address it.

Final Cut Pro X XML Format white paper 2012-10-23 pg. 33

 

[David Battistella]

Remember the old PROXIE quicktimes the REDONE use to make.. Now they would be cool to use again for editing.
I wonder why RED stopped doing those.

Mark,

you can generate them all within redcine x a and they will have the same folder structure as the redone use to make. They dropped proxies in camera with epic because that is what was causing long takes to "post" on the redone. Remember how a long clip would take sme time after recording? That was the qt proxies being generated. Now you just do it with a rcx preset.

there really is no need as they were pointer files for fcp 7, fcpx sees the r3d natively with the plugin installed.

It would only be advantageous on the rest of he system, like watching clips with QuickTime player.

David

 

[David Battistella]

Calling me a 'feature film hollywood guy' is extremely solid contributing, bravo.

Paul,

no offense intended. I know that you work in Hollywood and mostly on features within that system. I'd call myself an Indy doc and drama guy. It wasn't meant as a slight at all.

I completely understand how FCP X would not work within the workflows you require.

David

 

[M Most]

Don't pass them through FCPX at all? Couldn't you come from set directly into Resolve and generate offline editorial files there or alternatively export a string out from Resolve via XML? Then when you come back to Resolve to conform your settings will already be in place.

FCPXML supports CDL as of v 1.1. I presume it would pass it through but I'm out of my depth on that and the documentation I am reading does not address it.

"Pass it through" how? Baked in is not what I'm after here. A very common way of working is to pass the values to Avid in an ALE. That puts it into Avid's database. You can then generate an EDL with the values in a standard format (as a comment line called either ASCCDL or ASCSAT, depending on whether it's the offset, power, and slope values or the saturation values) that can be imported and applied by just about any color correction system based on the tape or reel name and time code. Not everyone uses Resolve, despite what Redusers seem to think. But even if they do, I don't know of any current metadata tags in the FCPX XML that would carry that information. That's not to say there couldn't be, but I don't know how you would get it into FCPX in the first place. Hence why I asked the question.