FCP to Color

[Trig Fuller]

Hi,

I've just got FCP Studio 2, and I'm trying it out with some red stuff.

I've got the proxies working OK (apart from full 4K files which appear weirdl, sort of negative).

I've done a quick cut(a prores sequence) and sent to color, but the cuts don't appear in color, or rather they are there but no visuals.

If I render out each clip individually then put them back into the edit they appear Ok in color.

My question is, do I have to render out each clip before I can grade ? It's a bit time consuming to do that.

Thanks.

Trig

 

[Rainer Fritz]

color doesn't support REDCODE....... at the moment....

 

[BigLu]

Trig have you tried log and transfer?

Color will not work with the proxies or R3D files as Rainer mentioned.

To take advantage of Colors power.
Use RedCine or RedAlert apply a first light color correction. Get your curve set in place your blacks close to what you want and your highs close to what you want then your mid range. Set your color tempature properly. Expouser if it is off. Then export at10bit uncompressed if you have the space. Or if you dont export ProRes422HQ

Then take that footage into FCP and send to color.

and enjoy

 

[Trig Fuller]

Hi,

thanks, having read your post I went and found log and transfer and I get how it works. I was just being a bit of a muppet and not paying attention to how it should be done.

Trig

 

[Thomas Koch]

Another workflow that currently works, is to edit with the proxies in Final Cut Pro, and then use Crimson (www.crimsonworkflow.com) to get the XML from final cut to REDCINE and use that to export your first look to prores and then go with that back to Final Cut and to color.

 

[Tar]

I would recommend Crimson, too. It really helps when you manage larger projects with more files and its automated. Its easy to use and you can always go back and conform to different codecs and/or resolution (if you think you might need this). It not free, but its worth it.

 

[Paul Lee]

Two words: Crimson Workflow

Log and Transfer is neat, but any colorist would love to get their hands on what can be output from RedCine.

I think the price is a remarkable value and Ian Bloom is a rock star.

 

[JeffVFR]

Image Inversion - Ah HAH!

Image Inversion - Ah HAH!

...I've got the proxies working OK (apart from full 4K files which appear weirdl, sort of negative)...

I posted a question about this but nobody responded. This comment from you sounds like my issue, so I'm jumping on it to confirm I'm not the only one...

Your 4K Proxie is blown out white and inverted, correct? A bit like a negative, but blown out? Mine too. Also, I'm cutting with 2k Proxies fine, but when I trim them they go to this same inverted image during the trim and pop back normal after trimming. Is that happening to you too?

I've just learned to live with it, but like all the other bugs being worked out here it's good to know if someone else is experiencing the same thing.

As for your workflow, I agree with the other posts about using Log and Transfer and Crimson. Good luck.

Jeff

 

[Harry Capota]

yeah, i got the inverted image too. But its ok since its my new negative ;-)

 

[Arne]

I don't really see a reason for using the 4K proxy. I think those proxies are great for offline editing but when the edit is locked you should do a conform using crimson and redcine. Another way of working with it would be not using the proxies but first converting everything to Prores. But I think by using this method, you're loosing the great advantages of working with Red. At least that is my opinion.

 

[Arne]

What I wanted to say is that using lower res proxies is fine because you do a conform later.