Welcome to our community

Be a part of something great, join today!

Log in
  • 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 :)

_H Proxies + Color

Zak,

Everything is pretty stable, the only issues I have are when there are long R3D files, the ones where there are more than one R3D for the same clip... Color doesn't like to load those files for some reason. The fix for me has been outputting a DPX out of RA. I cant get it to generate a new proxy that color will open. Hope this helps.
 
Thats not good at all :-( FCP will load the clips just fine, but when you send to color, you'll have issues. I wish I knew of a fix for you...
 
If you have many spanned clips, you should rather use one of the workflows from the whitepaper.
 
Yes, I have done it. The only problem is if you have any effects in your FCP timeline, when you send them back to FCP the effects don't get added back in. It's a bit annoying, but it can work.
 
zak forrest said:
I have a job coming up where we will be shooting all day every day for a month, editing simultaneously. We will be cutting with _H proxies, as we will have no time at all to convert to Pro Res.
Click to expand...

i understand where you're coming from but i don't think you'll be able to avoid something like pro-res at some point. the log and transfer is much faster than converting to pro-res in something like redcine or even quicktime. but what are you coming out of color with? you can just use the proxy but that will give you problems with longer r3d files like others have mentioned. but if you're sending something like a proxy in and back out of color, you're not really getting the extra bit depth that pro-res gives you so you might as well stay in fcp and just do basic correction in there and then output. but what will you output from fcp? unless you know exactly how you want you're finished/graded cut in, pro-res is kind of hard to avoid in the apple/quicktime workflow.
 
wigby said:
i understand where you're coming from but i don't think you'll be able to avoid something like pro-res at some point. the log and transfer is much faster than converting to pro-res in something like redcine or even quicktime. but what are you coming out of color with? you can just use the proxy but that will give you problems with longer r3d files like others have mentioned. but if you're sending something like a proxy in and back out of color, you're not really getting the extra bit depth that pro-res gives you so you might as well stay in fcp and just do basic correction in there and then output. but what will you output from fcp? unless you know exactly how you want you're finished/graded cut in, pro-res is kind of hard to avoid in the apple/quicktime workflow.
Click to expand...

When you go to color, your're coming out off the R3D, not the proxy really, as 10bit uncompressed QT or DPX, which is rendered straight off the raw. So it actually works really well.
 
You also need to make sure you have a clean file structure (read few folders and few volumes) for the FCP / Color EDL export/import workflow to work well, especially on long projects. Color goes bezerk if your file structure is too complicated.

Let's hope FCS3 solves the problem soon.
 
You must log in or register to reply here.
Back
Top