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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 :)

Picture locked with proxies. Now how do I conform?

O

Orestes Mitas

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I have a cut for a film using the .mov proxies from the R3D footage, but now I would like to grade the raw footage and then export a fully graded .mov file of it. I'm not very familiar with the DPX workflow but its to my understanding that each frame is exported separately from the R3D file and then graded. surely this means you won't have the flexibility of the raw file and won't be able to change embedded settings such as ISO and exposure etc.

Anyone know how I can load my cut into a program, grade it directly from the R3D files and export a finalized high-res cut? I've looked everywhere and can't find a straightforward answer.

Any help would be greatly appreciated!
 
Just send your final cut sequence to color and you will have those options. If you are using the proxies in final cut.
 
FCS 2 does it as well. Just do File > Send To Color. Once in Color, go to the project settings and double the resolution settings (if you used the M proxies). You'll know it's working correctly if you have a RED tab in your Primary room.
 
Thanks for your replies.

I just went to file>send to> color.
The timeline is imported but nothing shows when i scroll through it - all the clips are crossed out. also i don't see any 'RED' tab on the Primary In tab. Are you sure that this will directly colour off the R3D files instead of just the proxies themselves? Because as it stands if I try to export an mov off the final cut timeline it will make it out of the proxies' interpretation of their R3D files.
 
Color automatically works with the R3D files, not with the proxies. This workflow is only if you used the proxies generated by the camera.

It sounds like you need to reinstall the Final Cut Studio Installer plugin (http://www.red.com/support). I had the same problem, then someone told me that I had installed the FCS plugin and the RED Quicktime plugin in the wrong order. I don't remember which is the correct order, but try it both ways and it should work.
 
Well, the standalone quicktime plugin is V3.9 whereas the one in the FCS installer is V3.8 so I suspect you have to install the FCS installer first, then the QT plugin.

Clipfinder has an option to fix a color loop bug; search here to see what triggers it and if it'll apply to you.
 
So I have a question relating to this... I shot 1/2 of our film 2 years ago and at that time ingested all 2k proxies to cut from. By the end of the process, FCP was struggling and shutting down when the Project file reached 100MB or so. So on the re-shoot, I ingested the new footage at 1k then pulled my old cuts directly from my 2k timeline...

My question is: Because my timeline is now mixed with 1k and 2k camera generated proxies, do I have to online my 1k files to 2k and send an entire 2k timeline to Color for my final conforming? Or if FCS3, Color v1.5 works directly off the R3D files anyway, can I just set my export settings out of Color to whatever my deliverable will be and render directly out of Color?

I do have the RED tab and my timelines are recognized.

Do I even need Clipfinder? or will that just complicate the process?

Thanks a million!!!!!
Dave

I know I prob got myself into some issues, but Maybe Apple is smart enough to get me out of it... HA!

Any help would be appreciated..
Dave
 
Dave,
You might want to bounce through Clipfinder (For the conform, not any rendering) to make all your proxies the same size and your life easier, but it's not essential. Bear in mind that if you send your project to Color as-is (Mixed Res) you will probably have to go into all your 1K clips and reset the scaling in the geometry room.

That's the main reason I would do a Clipfinder conform (Connecting to the _F proxies) before my grade. All the files end up the same size, and it's one less headache.
 
Ok, thanks for that Ben! So when you say
to bounce through Clipfinder (For the conform, not any rendering)
Click to expand...

what are the actual steps to do this properly... I have opened Clipfinder once and had some headaches trying to connect to R3Ds... It didn't mark my ins and outs for all of my cuts for some reason... So if I hear you right, I should not connect to R3Ds... I should connect to the _F proxies.

If it is not too much headache, could you walk me through the steps you would take from final locked sequence (mixed Res) in FCP then through the conform in Clipfinder then into Color.

Also when I am in Color (as I am reading the rest of this thread) it seems that Color corrects on the R3Ds even if you import 2k proxies... but it only depends on the export settings out of Color for your final render? Sorry if a bit disjointed... I just need a bit of guidance.

Thanks again!!
D
 
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No problem. The workflow I would suggest in you case is like this:

(Note that I'm assuming that despite your mixed timeline resolution, your actual *footage* is all the same res. If not, things get a little more complex, but not much)

1. Export your final edit from FCP as an XML. The default settings are fine.

2. In Clipfinder, go to Tools -> Run Conform on FCP XML.

3. Select your input XML, and name your output XML.

4. Check "Replace Clips With" and select your proxy. I usually do F proxies, but it doesn't actually matter.

5. Uncheck "Set sequence size"

6. Point it at your footage directory. I point it at the root folder that contains all the others, and have never had a problem. Some people have issues, and have to point it at each individual folder (The day/card folders, not each individual clip). Try it with the Root (AKA your "Footage" folder) first.

7. Hit "Run Conform". You'll get a little status window which will tell you any errors. If you're running a mixed-media project, don't worry if it tells you a few clips can't be found. Anything it can't conform to proxies will stay linked to the original.

8. Import the new (Output) XML into FCP, and send it to Color.

It seems kinda complex, but I think once you run through it you'll find that it's not really that bad.

If it does sound more complex than you'd like to try, like I said before, you shouldn't actually *need* to do it, since you've already got a timeline full of camera proxies. You might have to reset the scaling in the geometry room, but that's it.
 
Thanks Ben and David! You guys have been a lifesaver! Ill check out these workflows for sure... doesn't seem like Ill run into any issues. You both have been very clear.

So one other question for you David. It seems from what I've read, that if you can see the RED tab in Color that means that you are working directly from R3D's no matter what resolution your FCP sequence is at. As long as your cut in FCP was from Camera Generated proxies... ???

You guys definitely rock!!

D
 
Seeing the RED tab isn't necessarily indicative of accessing the R3D files, since it's always there if it's installed. If you can *USE* the RED tab (Change settings, enable/disable) you're good to go.

Note that if your FCP sequence is not full-res, you will have to change your settings in your Color project to reflect your desired resolution.
 
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