4K FCP7/ Color 1.5...Guess not

[danbrazda]

Help- what am I missing? I thought FCP 7 and Color 1.5 handled 4K throughout the workflow. The only way I can get 4K into FCP 7 is to import the F QT reference files. Log and Transfer in Pro Res 4444 yields 2K and Native mode does the same. So you still have to work with 4K reference files and then reconnect to R3D as the last step right?

Please realize that this is more of a criticism of Apple than Red. I am a Mac Geek to say the least but the latest release of FC Studio 3 is less than stellar so far.

 

[NateWeaver]

Dan, you need to read up on offline/online workflows.

Yes, you can't edit in 4K in FCP, but:

1-Why would you want to? It would be mega extra horsepower to do so. "Just because you should be able to" isn't really a good answer when the people that really need 4K output would NEVER do it out of FCP.

2-Who's delivering 4K masters? Not you or me

The way to really do it is to edit in FCP, then send to Color and render out 4K DPX or ProRes from there.

 

[danbrazda]

Dan, you need to read up on offline/online workflows.

Yes, you can't edit in 4K in FCP, but:

1-Why would you want to? It would be mega extra horsepower to do so. "Just because you should be able to" isn't really a good answer when the people that really need 4K output would NEVER do it out of FCP.

2-Who's delivering 4K masters? Not you or me

The way to really do it is to edit in FCP, then send to Color and render out 4K DPX or ProRes from there.

Um, thanks?

I thought I implied by my inquiry that, "I ain't hatin', I'm just sayin". Please don't paint me as a slacker who posts without research either. Nate, I have learned a lot from your posts but the "don't you know where "search" is response is beneath you.

I have been following Red from day one but only post when I feel I have something worthy to contribute (see my post count)...

"Who would want to edit in 4K?"- ME.

I make editorial decisions based on the visual impact of my content. We are at the cusp of 4K+ monitoring and I think the question of whether or not a given program can do it natively now or 18 months from now is valid.

 

[NateWeaver]

I make editorial decisions based on the visual impact of my content. We are at the cusp of 4K+ monitoring and I think the question of whether or not a given program can do it natively now or 18 months from now is valid.

Respectfully, I think the method of extracting lower resolutions on the fly is the correct choice. I can see focus in 2K, and that's that matters to me. From what I read, guys who do DIs all day long agree.

I guess if you already know how offline/online works and you still feel this way, then carry on and I'm sorry I made the assumption you don't.

But I guess I don't agree and I can think of a lot of other things that I wish they'd fix in FCP before giving me something I don't need. So honest apologies I made assumptions, but your manner seemed somewhat oblivious to why things are the way they are.

[edit: All this is academic anyway. The resolution limits in FCP have long been blamed on it's Carbon heritage, and they're likely to stay there for quite some time until Quicktime X gets up to speed and FCP gets it's overhaul to take advantage of it. There's a VERY sobering discussion of this in John Siracusa's review of Snow Leopar on ArsTechnica]

 

[Stephen Gentle]

Nobody seems to have mentioned that you can most certainly grade and export in full 4K in Color. That's far more important that editing at 4K.

[edit: All this is academic anyway. The resolution limits in FCP have long been blamed on it's Carbon heritage, and they're likely to stay there for quite some time until Quicktime X gets up to speed and FCP gets it's overhaul to take advantage of it. There's a VERY sobering discussion of this in John Siracusa's review of Snow Leopar on ArsTechnica]

That is an awesome review - very interesting how the whole system works with 32 bit and 64 bit working together (such as the 64 bit Quicktime-X framework delegating work out 32 bit Quicktime 7 framework for formats they don't support yet). I bet everyone (Apple included) can't wait for the transition to be completed, and I think that the next version of Final Cut is going to be far more exciting than the last release was.

 

[danbrazda]

Respectfully, I think the method of extracting lower resolutions on the fly is the correct choice. I can see focus in 2K, and that's that matters to me. From what I read, guys who do DIs all day long agree.

I guess if you already know how offline/online works and you still feel this way, then carry on and I'm sorry I made the assumption you don't.

But I guess I don't agree and I can think of a lot of other things that I wish they'd fix in FCP before giving me something I don't need. So honest apologies I made assumptions, but your manner seemed somewhat oblivious to why things are the way they are.

[edit: All this is academic anyway. The resolution limits in FCP have long been blamed on it's Carbon heritage, and they're likely to stay there for quite some time until Quicktime X gets up to speed and FCP gets it's overhaul to take advantage of it. There's a VERY sobering discussion of this in John Siracusa's review of Snow Leopar on ArsTechnica]

In my book there is no right or wrong workflow. Content is king and how you get there is your own business.

By the way Nate, I still hate you for scoring the Green Day gig. :biggrin: