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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

FCP - Crimson - Redcine and Color workflow

M

mrsteinberg

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Just got a workflow working.

Edit in FCP XML out - import XML to Crimson XML to Redcine import alias rd3 files from crimson and then import the Crimson XML- Grade-Resize and render out in redcine - Import files to Crimson and make a new XML to *FCP xml to - Color - grade render and then xml back to FCP for Final Online.

I used*1920x1080 25P 10 bit uncompressed quicktime out of redcine and color.

I also tried DPX in color. Redcine got some frames looping in the end of one clip but you got so much to pull with the colors and DPX files so I wish this would work.

My other thing is that I still only can edit the smallest proxies in fcp without a crash that is real enoying. If the medium size would work with out re rendering everything to Pro Res I would say I have a working workflow that I am satisfied with. Even thou it's a huge hassle with all the xml's and having to go via Crimson, redcine should be able to import FCP xml straight away.

Any one that can help me out there and I hope all this text made sense.

Best Martin Steinberg
www.steinbergfilms.se
Latest work: http://steinbergfilms.se/videos/wrdc-find-al-gharbia-web-hq.mov
 
Forgot to add that this was with REDCINE v3.0.8 build 108. Last redcine no export worked for me I just got out QT files with still frames.
 
Hey There mrsteinberg

Tried the same workflow, i just did it with DPX files without any problems...

I exportede an EDL from Final Cut (CMX 3600), and used that in Color insted of an Crimson Roundtrip XML.

The problem with editing with the Proxis in FCP, can be avoided by converting them in Compressor to Prores. This ofcourse means more Harddisk space and more time, but makes the editing less painful.
 
Does Redcine also read the EDL? Because I have the Color workflow working!
But want to be able to edit preferably proxies in FCP and then push out 1920x1080 25P 10 bit uncompressed quicktimes or DPX files out of redcine back to FCP and do the grade in COLOR.

thanks for the answer!
 
To expand on the workflow questions... In my case going from Redcine- Camera RGB, Redlog- export Prores HQ. When I grade in Color do I need to use a LUT or overide color space in order to color correct for a HDCAM/SR finish? My understanding is that if I use Redlog to preserve the latitude of the image and color grade on a HD monitor without ever using LUTs or changing color space I'll naturally be in the proper color space (Rec.709) for a HD finish. Am I correct, or is there something I'm missing?
 
How did color recognize a edl from red files and conform them can i do that with files that i used L&T with also
 
K.Berlin said:
someone said redcine doesnt need edl support
Click to expand...

I can't imagine who...

Color is a bugger though with file-based corrections in 25 fps-land.

FCP on the other hand likes DPXs (with Gluetools) but dislikes 10 bits RGBs.

Thus this thing is still a buggy and cumbersome beast (in 25 fps world)

Gunleik
 
gunleik said:
FCP on the other hand likes DPXs (with Gluetools) but dislikes 10 bits RGBs.

Thus this thing is still a buggy and cumbersome beast (in 25 fps world)

Gunleik
Click to expand...

Thats the reason why I will switch to Avid's Mediacomposer 3.0

It seems that Apple will not be able to give us a full 10 bit solution... Can't understand this....

As we are lucky that Ian build crimson... apple also don't provide us in fcp with a good
RED interface....

More and more prductions shoot on RED and seeing what big benefit it is, but they don't react....

regards
rainer
 
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