5kHD 23.98 files from Epic and FCP7 offline online workflow

[Brian Merlen]

So this production company shot a commercial on Red Epic at 5k 23.98 and wants to take the prores 422 files I made and do an offline/online edit. But they want to do it all within FCP7. I don't know if this is possible since I ditched the program years ago at this point. I know it worked with red ones and some quicktime wrapper. But not sure about Epic. They want to cut offline on prores then relink to grade the raws, and their editor only knows FCP7 so no other programs I suggest seem to matter...I know FCPX or Avid, or Adobe could do what they need, but not sure if they will try it, or even resolve since their editor is an FCP7 based editor but they are insisting on relinking to the raw to grade. Any advice is helpful, thanks, but so far I am pretty sure its not possible unless they are willing to use another app for the reconform grading... can color do 5k red epic files raw?

 

[Craig Parkes]

FCP7 is fine for doing an offline - they will need to reconform from the FCP7 xml in some sort of finishing suite.

I very much doubt they plan on finishing in FCP/Color - they just want to offline in FCP which will work fine.

Just make Prores rushes in HD for the offline, keeping the same filenames as the .r3d except with .mov extension - from there you'll have multiple simple workflows for the conform.

If they are really planning on finishibg in Color/FCP 7 then they'll need to choose another workflow, but I very much doubt this is the case.

 

[Brian Merlen]

No they authentically don't want to use another program as per the editors preference. Apparently the guy hasn't bothered with any other programs yet since it was EOL and they have a bunch of dated Mac Pro Xeons, director is fine with using another application but post doesn't want to is what I was told when I left set and give them the rushes. I knew that the workflow they want won't work, but I just needed confirmation. Its not a long form project either, short spot.

I asked if they wanted to use resolve for the conform and they said no...So I know they are going to need to output from the off lines if they use FCP7 and refuse to XML it to another app. If I were doing the post I would skip the XML entirely though and just learn Adobe CC, Avid, or FCPX, seems much more straight forward then forcing yourself to continue relying on a discontinued 32 bit application. They are not red savvy there workflow wise at all, I assure you no plan is in place besides what I have told you, which we both know won't work...

But I thank you for the confirmation! I called Red just now to have them confirm as well, before emailing production to get a 64 bit program and skip the XML route, since hey in the end they will need it anyway to finish the conform... It always amazes me how many places still live in an FCP7 world, I mean there bays aren't nMP but they ain't low end either and would scream with a 64 bit application, and maybe a new GPU here or there... Hopefully they go on to a more efficient program generally speaking as well since FCP7 is long in the tooth for most high end needs today

 

[Craig Parkes]

Well I suppose they could still finish in 4K by going REDCINE - FCP 7 HD Daileys - REDCINE - OUTPUT 4K PRORES 444 for mastering - FCP XML out of REDCINE into Color.

But are you certain that they really want to finish in 4K/5K and not just HD. Seems so weird to want to go that route on the software they are using.

 

[Nook Kim]

No problem at all. I as a colorist conform this way all the time. Mind you FCP7 is still much more prefered NLE than FCP X or Adobe. Last time I worked with a freelance editor who cuts on PP6, it was a PITA for 29.97 timebase. It was just a couple o months ago and I was told by Adobe that it wad known issue with 29.97 material how PP exports XML with incorrect header.

So if you're working on big jobs with 29.97 timebase (TVC) where you need to collaborate with other houses, be warned!

Hope this helps,

Nook