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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 :)

Experiment workflow - How to get rid of color bug -I hope

Luca Immesi

Luca Immesi

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Update4! Please consider only this update:
So thanks to Nick Shaw, Hans and Rowland now the workflow is really easy:
1 Shoot 4k/2k 16:9 or 2:1
2 Drag the RDM folder in Clipfinder
3 Choose M proxies for 4k and H proxies for 2k
4 Drag the clips to FCP bin and make your edit with M (for 4k) proxies and with H (for 2k) proxies
5 When you finish your editing duplicate the sequence, put all the clips on the first video track and remove all the effects
6 Send to Color
7 Close Color project
8 Open COLORFIXER and choose the color project you want to fix
9 Reopen color project
10 Enjoy

Update3! Please consider only this update:
1 Shoot 4k/2k 16:9
2 Drag the RDM folder in Clipfinder
3 Choose M proxies for 4k and H proxies for 2k
4 Drag the clips to FCP bin and make your edit with M (for 4k) proxies and with H (for 2k) proxies
5 When you finish your editing duplicate the sequence, put all the clips on the first video track and remove all the effects
6 Export the EDL
7 Make a new color project and import the edl
8 Put the right frame rate, resolution (what ever you want), put the right files path, if needed resize the clips in the geometry room
9 When you finish with you color correction render to one of these different formats:
Uncompressed 10 bit, Aja 10-bit RGB codec, Dpx, Prores HQ and send back to FCP and export FCP sequence (file-export to quicktime movie). If you export to dpx you have to manually wrap every clip with aja dpxtoquicktimetraslator and rename it 1_g1.mov and so on in the same folder of the dpxs, then send it back to FCP and it will relink to your dpx wrapped quicktime files.
About the gamma issue: I've tested all the codec above and I can say (with that codecs) it's only the way FCP reads the footage. If you export the sequence outside FCP you will notice that you have the same quicktime (uncheck final cut compatibility) that you have imported before from Color. If I'm wrong please correct me.
Remember to set in FCP sequence settings "render all YUV material in high precision YUV". It's crucial.
Here's the link to a very good source:
http://www.coremelt.com/support/workflow/codec-and-effects-limitations-for-10-bit-online-workflow-with-final-cut-pro-6.0.2.html
and here a podcast with Graeme Nattress
http://www.fxguide.com/modules.php?name=redcentre&pa=listen&path=redcentre-004.mp3
OMG it's 7 P.M. and I have to buy some gifts.
I have to go!!! Merry Christmas everybody!!!

So, I' ve tested this workflow really a little but it seems to work with spanned R3D files. Yes color seems to be able to read correctly r3d spanned files through an EDL. I hope I'm right.
I used for test 4k 16:9 build 16 files I'll test with 17 soon with other resolutions.
For now what I know is:
Shoot 4k 16:9
1 Make your edit in fcp with P or M proxies
2 reconnect P or M with H proxies
3 change fcp sequence settings to 2048x1152
4 export the EDL
5 make a new color project
6 import the edl
7 put the right frame rate, resolution (2048x1152), files path
8 enjoy

Update! It seems that it is not required to reconnect the P or M with H proxies. So the workflow should be:
1 Shoot 4k/2k 16:9
2 Make your edit in fcp with P or M proxies
3 export the EDL
4 make a new color project
5 import the edl
6 put the right frame rate, resolution (what ever you want), files path
7 resize the clips in the geometry room (if needed)
8 enjoy

Update2! So I tried with b17 4k spanned files, it works smooth!
Also I experimented exporting an xml from fcp and importing into color, it works but I noticed a better playback in color with edl method than xml.
But for people can't load the edl they can try exporting the xml and importing in color. Although I highly recommend the edl route.
 
Today I've imported in color an edl from a fcp timeline of several spanned r3d files all mixed together and it worked great!
 
I've tested also with 4k/2k spanned and normal files all mixed together and it works. On the fcp timeline edit 4k M proxies and 2k H proxies than when you finish your edit reconnect the 4k M proxies with 4k H proxies and 2k H proxies with 2k F proxies, change the fcp sequence settings to 2048x1152 and export the EDL. The rest is the same.
 
when you say reconnect with H proxies, what do you mean? doesn't color associate the proxies with the native RD3 files?
 
It does.

You could also change the projectsetting in color. You'll then have to re-set them in FCP when you send to FCP.

You could also just cut from the H/F proxies or use clipfinder to re-conform.
 
ok thanks, but if i didi edit using the M files how would i reconnect them to the H files.?
 
Either with clipfinder (batch), or manually through rightclicking on the clip and choose reconnect, take away the hook for exact filename and choose H instead of M
 
thank you for the help, i will have a look at clipfinder.
 
Matthew Rogers said:
Humm, I can not get the EDL to work. I've tried exporting both M and H proxies with no luck. All I get in Color is the clip with a red x through it. Can't figure out how to get it to actually connect to the correct file.

Matthew
Click to expand...

Export the EDL.
Open new project in color.
import the EDL in color.
It will open up the window "EDL import settings".
On project frame rate put 24 or 25
On EDL frame rate put 24 or 25
On source frame rate put 24 or 25
On project resolution put 2048x1152 (after you can change the resolution in color).
On source directory find the volume where your R3D files are. If you have R3D files on different hard disks just select /Volumes/ color will search the files on all the hard disks and it will reconnect your files.
 
Guys, it seems to work also with M proxies without the need to reconnect them. This morning I had some issues, for this reason I first edit with M and then I've replaced them with H but maybe I did something wrong because now I exported an EDL of an M timeline and I can resize in color as I want.
Gorgeous!!!
 
as long as the project is sized to 2k in color you're good to go. You can use any proxies to do the edit in fcp. kinda cool. this edl find is really powerful thanks again Luca.
 
I also can confirm that you can use any size proxy and go to any size final project in Color. I took a M proxy today and converted it to 1080p on render with no problems. It looks great and the workflow is almost as easy as choosing Send to Color from FCP. I wonder why RED didn't use this workflow. Surely they knew about it...

Matthew
 
Maybe not :sarcasm:
 
Any advice for this situation?

The editor, edited in FCP using the Proxies. He has at times 4 layers of video. Apple Color does not like this. Do I burn these into Pro Res 422 HQ? Wouldn't that create some inconsistency between working off the r3d's and prores for final output? What should I do, knowing that I need to burn in.
 
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