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

[pgadd]

Hi Luca
Great workflow could you explain a little more about how you bring the rendered files back into FCP from Color? Do you just drag the rendered files folder into FCP and relink to the edit? Sorry slightly new to this part of the workflow, only really played about Color today. And surprisingly lovin it.
Phil

 

[Joyfool]

Once the grade is done - and the clips placed in the queue and rendered - simply click file/send to/final cut pro. The rendered sequence will be placed in fcp w/out audio. Paste in the audio tracks from the original sequence and export (using quicktime w/ whatever settings suits you: compressor doesn't seem to work for me)

 

[Harcharan Singh]

Workflow

Workflow

Hi Luca,
If I had to go to 35m print would'nt it be better to render out from Color.I heard FCP gives 8bit output. Your views.
One more thing if shoot 4K and want to output to 2K for final print what will be the suggested workflow?
THks
Harcharan:innocent:

 

[gbalaji]

Hi Luca,
If I had to go to 35m print would'nt it be better to render out from Color.I heard FCP gives 8bit output. Your views.
One more thing if shoot 4K and want to output to 2K for final print what will be the suggested workflow?
THks
Harcharan:innocent:

Harcharan,

Its better to output DPX out of Color...

 

[Luca Immesi]

Harcharan,

Its better to output DPX out of Color...

Totally agree. For film 2k dpx. I think what we need now is a reliable LUT to go from Color to film out.

 

[Harcharan Singh]

Lut

Lut

Hi,
Should I ask for LUT from the lab where the final print will be done or how can I get it done by a colorist.
HS

 

[Luca Immesi]

Hi,
Should I ask for LUT from the lab where the final print will be done or how can I get it done by a colorist.
HS

Yes. It would be great.

 

[Patrick Demers]

Yes, it works!

Yes, it works!

I've been off-duty during the holidays, but I finally got it to work (it was just file structure, as you guys had guessed).

So I just want to say thank you for this thread Luca, it's God sent!

I'll be editing my full feature indie movie in the next few months and I'll go through this path: FCP/red proxies > Color > DPX > 2K Film transfert.

By april or may, I suppose the LUT thing will be sorted out... or maybe FCS3 will make things even easier...

Thanks again! :w00t:

 

[Kaku Ito]

Luca,

Just to check with you, when you edit offline with native files, wouldn't these R3D issues in Color eliminated? That was the case for me but EDL workflow didn't really work well for me instead.

 

[Luca Immesi]

Luca,

Just to check with you, when you edit offline with native files, wouldn't these R3D issues in Color eliminated? That was the case for me but EDL workflow didn't really work well for me instead.

Yes it works with native files. I've discovered that edl doesn't work with files that have edge timecode and I have problems with files shot with built 17 with audio.

 

[Kaku Ito]

Yes it works with native files. I've discovered that edl doesn't work with files that have edge timecode and I have problems with files shot with built 17 with audio.

I see, thanks for the information!

 

[Luca Immesi]

Kaku, the problem with the edl is it's really straight, so it works if you have file with no audio, if you don't reload so much the mags (try to shoot everything on one hard drive or two), if you dont' use edge code, you know you have a lot of limitations.
Currently I'm using this workflow and it's not bad at all considering you can get in and out point of what you want to render:
load all the mags into clipfinder
select the clips you want
drag and drop in fcp from clipfinder the selected M proxies (from 4 k) and H proxies (from 2k)
edit proxies
when you finish the editing export an xml
import the xml into clipfinder
in the log and transfer window of fcp add the rdms
in log and transfer choose only the files you have in the clipfinder window
and adjust in and out (it's not mandatory, you can render the entire clip but if you do it the render time is really less)
add the files to the queue
trascode to native
when finished go back in clipfinder choose run conform on fcp xml file
you get a new xml
load into fcp
now you have all your timeline reconnected with native files ready for Color
Hope this helps.

 

[Kaku Ito]

Luca,

You lost me on the L&T thing.

I'd normally do a copy & paste (not a drag & drop) of the R3Ds so the ClipFinder makes R3D copies from the XML. Then choose those selected R3Ds in the L&T.

 

[Luca Immesi]

Luca,

You lost me on the L&T thing.

I'd normally do a copy & paste (not a drag & drop) of the R3Ds so the ClipFinder makes R3D copies from the XML. Then choose those selected R3Ds in the L&T.

Do you mean copying the files in another directory?

 

[Kaku Ito]

Do you mean copying the files in another directory?

yep yep.

 

[Luca Immesi]

yep yep.

It's correct but you can do import the whole rdm in the log and transfer and add to the queue of log and transfer only the clips that you have in the clipfinder window, you have to do it manually but you don't need extra space and you don't have to wait for the copy of the temporary directory.
I prefer to have all material in the log and transfer window, so If I need something is there but I understand one is more comfortable importing only the selected clips that it needs.

 

[Luca Immesi]

Kaku, are you able with the MXO to have playback (no realtime) in fcp with a timeline of native r3d files 1920x1080? If yes wich MXO presets do you use?

 

[Kaku Ito]

I'm going to check on that right away.

 

[Kaku Ito]

Hi Luca,

Edit:you don't really have to use the preset from MXO.

I tested originally 4K 16:9 clip ingested with L&T at Native choice that became 2048 x 1152 pixel ratio.

Simply paste it on the timeline so sequence becomes 2048 x 1152 with ProRes compressor selection.

RT setting: unlimited RT, playback video quality is "dynamic" and playback frame rate is "full". This is important to keep the playback frame rate to be full, other choices won't work at this point.

Then select view/playback as MXO Umcompressed 1080p 23.98 - YUV (1920 x 1080).
According to Matrox 8-bit choice would just truncated 10-bit material to display in 10-bit, so color balance won't be off.

Also, 2048 x 1152 material displayed on 1980 x 1080 monitor selection would be just resized by FCP.

You are asking for MXO I hope, if it's MXO2 then I have to check on the different machine.

 

[Kaku Ito]

It's correct but you can do import the whole rdm in the log and transfer and add to the queue of log and transfer only the clips that you have in the clipfinder window, you have to do it manually but you don't need extra space and you don't have to wait for the copy of the temporary directory.
I prefer to have all material in the log and transfer window, so If I need something is there but I understand one is more comfortable importing only the selected clips that it needs.

I was wondering if that was what you meant and that is cool that you can do that. Thank you for sharing your findings as always.