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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 :)

2k contains 4k after reconform in FCP7?

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Niki Drozdowski

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Hi everybody!

I am sure, this is a newbie question - but I am kind of a newbie to this. I am the producer/writer/director of a feature film - and now I am also the postpro-supervisor...

I ran the reconform-way in FCP7 as described in RED's whitepaper and recaptured everything in "as shot". So my Capture Scratch is filled with a lot of QT in 2048x1024 in REDCODE. When I do the "Send to Color" everything works fine. But I just tested an output rendering to DPX in Color in 4k WITHOUT THE ORIGINAL R3D MATERIAL CONNECTED. And it seemed to work.

So my question is: Are these 2k QT recaptured by FCP7 actually 4k, which it cannot display (and QTPlayer neither), but Color can? Or are these really 2k and I need glasses thinking that the rendered 4k DPX are actually 4k?

Please help a confused director...
 
I just compared the rendered "4k"-DPX in Photoshop with the original r3d in Clipfinder (Full/HQ) and checked the details with the loupe. I really think it's 4k!

Can anybody confirm this?

Thanks again. :)
 
If you send an edit using QuickTime files wrapped to REDCODE i.e. Log and Transfer using the "Native" setting, then yes Color will relink to the R3D originals and you'll be able to correct at 4K.

Noah
 
Noah Kadner said:
If you send an edit using QuickTime files wrapped to REDCODE i.e. Log and Transfer using the "Native" setting, then yes Color will relink to the R3D originals and you'll be able to correct at 4K.

Noah
Click to expand...
What if you use Clipfinder to conform the FCP xml to the H(2k) proxy?
 
Depends on a few other factors- for example if you have kept your R3Ds in the same intact directory locations but in general yep.

Noah
 
Noah Kadner said:
If you send an edit using QuickTime files wrapped to REDCODE i.e. Log and Transfer using the "Native" setting, then yes Color will relink to the R3D originals and you'll be able to correct at 4K.

Noah
Click to expand...

But the miracle is (at least for me) that I didn't have the R3Ds present for color - the harddisks containing them were not connected. Color was able to render 4k outputs from those 2k QT-wrapped REDCODE-files. And when I connected the disk with the R3Ds to Color, it wasn't even active during another export, just sitting there. The disk with the 2k QTs was working.
 
If in Color you have the RED tab enabled in Primary In... then you are working with the originals R3D (that means 4k if shot in 4k).

Pat
 
Excellent, thanks for the info. Y'all are an excellent resource. Right now all I can do is ask questions -- I hope to gain enough experience to contribute.
 
Niki Drozdowski said:
But the miracle is (at least for me) that I didn't have the R3Ds present for color - the harddisks containing them were not connected. Color was able to render 4k outputs from those 2k QT-wrapped REDCODE-files. And when I connected the disk with the R3Ds to Color, it wasn't even active during another export, just sitting there. The disk with the 2k QTs was working.
Click to expand...

That's because the "2k QT-wrapped REDCODE-files" are actually the full 4k R3D files in a QT wrapper. The wrapper tells FCP to read them as 2k, since FCP doesn't do 4k, but all the 4k info is there. Which is why color is able to see all the info and render out 4k files. Take a look at the size of one of the QT wrapped files and look at it's corresponding original R3D file on your other drive and you will see that the file sizes are the same. When you log and transfer the R3D's into FCP, the full R3D files are simply being copied with a QT wrapper applied to them.
 
Jeremy Newmark said:
That's because the "2k QT-wrapped REDCODE-files" are actually the full 4k R3D files in a QT wrapper. The wrapper tells FCP to read them as 2k, since FCP doesn't do 4k, but all the 4k info is there. Which is why color is able to see all the info and render out 4k files. Take a look at the size of one of the QT wrapped files and look at it's corresponding original R3D file on your other drive and you will see that the file sizes are the same. When you log and transfer the R3D's into FCP, the full R3D files are simply being copied with a QT wrapper applied to them.
Click to expand...

So instead of conforming to the h (or 2k) proxy you could conform to the smallest proxy and still output a 2k (or 4k) file from Color?

And Patrick, yes Epesses is beautiful. Not nearly as cloudy and gloomy as Geneva. We used to rent an apartment from one of the vintners there -- Fonjallaz. http://www.fonjallaz.info/pf/Bienvenue.html
 
M Edwards said:
So instead of conforming to the h (or 2k) proxy you could conform to the smallest proxy and still output a 2k (or 4k) file from Color?
Click to expand...

Yes, for example you can transcode your R3D's to your editing codec of choice, but keeping the names the same of course. Do your offline edit, send out an xml to clipfinder, conform to the "p" reference files and then send the conformed timeline to color. You will then have full access to the original R3D's and be able to output 4k, 2k, 1080, 720 etc. files. You just have to adjust your Color settings at that point to your preferred output resolution and codec.
 
:thumbup1:

Jeremy, thank you so much for clearing this issue up for me! Now I can rest assured and continue the workflow. Well, one problem solved, only 999 more to go.. ;)

If anybody is interested, that's the movie:
http://www.youtube.com/watch?v=AYzvQDSitAs

Thanks again and Happy Holidays to all of you!
 
Darren,

It's a cold war Nike base (interceptor missiles) located in the Eifel region in Germany. It was part of a massive defense line against potential Russian nuclear missiles and was run by US and Belgian forces.

The rest we shot also in the Eifel region, including the medieval castle and the (hollow) interior of a 300 ft. dam.
 
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