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 :)

Color/Final Touch - lots of heavy bugs and issues.

Yeah, I use Colorista in After Effects and FCP. I do think there are some issues with the FCP version. Seems to change levels when applied to the clip, even when I have done nothing to adjust it. I still need to look into that. Also, it does not have white balance options like it does in After Effects. And FCP version is limited in it's mask capabilities, which you can work around. But I do use it in FCP. I'm just looking for the quickest pipeline between finishing an edit in FCP, grading accurately, and then rendering pristine final video. If money were no object, I think I know where I would spend it, but money is a factor.

Steve
 
Every single one of us making a living from Digital Technology (both the suppliers AND the users) are dancing on the frayed edges of what is known ... each day brings a dizzy rush to be the first to bring a new development to the market and the users accept and forgive this because we desire what the developers are selling and we are always feeling the powerful push to be the first on the block with the advantage the newest sensation will bring us.

It seems that this is all part of the game of competition.

Surely, modern technology companies have ALWAYS released products which were only 85% finished and then relied on the first users to be the bug exterminators. Really, is Apple's case of "Corporate Over-hyping" much different than RED selling their camera without all the intended features fully functioning (EVF, 1080p, etc.)

The real issues are how the companies work on correcting the problems and what degree of disclosure are they offering? Also, what tolerance for "error" are we, the purchasers, willing to accept.

At the end of the day, the proof is in the doing, not in the telling.

elizabeth
 
stevesherrick said:
finishing an edit in FCP, grading accurately
Click to expand...

Well, a lot of people are going to be working that out soon. I was talking to a friend yesterday that has a lot of onlining experience. His advice was if you can edit online in your final resolution you'll save yourself a lot of hassles that arise in the offline to online process.

If Cineform worked in Color I'd probably work in Cineform 1080P. Otherwise Prores 1080P. For comp's it may turn out that R3D to OpenEXR back to ProRes might be best. Clearly some testing will be required. I actually like Color quite a bit from the testing I've done so I'd like to make it work.
 
Currently I do all of my editing at online resolution, but I'm only working at up to 1080i, with a lot of the work at 720P. For years I did the Avid offline/online workflow and it was efficient for cramming endless hours of footage on hard drives, but I have not had to operate within that type of workflow too often these days.

For now I would be happy being able to round trip 720P and 1080i video back and forth between FCP and Color. But I have yet to take the plunge and load FCP 6 and the rest of the suite. I'm still working in FCP 5.1.4. Waiting for the dust to settle a little bit before upgrading.

Steve
 
Color 1.02 is certainly a lot better than 1.01. It fixed the color accuracy issue on PAL output, and seems to have fixed the timecode issues on FCP round trip.

I just colour corrected a film for a real paying client for the first time on it last week, and managed the round trip from FCP>Color>FCP, including a clip with reverse motion, with no issues.
 
joelnet said:
Well, a lot of people are going to be working that out soon. I was talking to a friend yesterday that has a lot of onlining experience. His advice was if you can edit online in your final resolution you'll save yourself a lot of hassles that arise in the offline to online process.

If Cineform worked in Color I'd probably work in Cineform 1080P. Otherwise Prores 1080P. For comp's it may turn out that R3D to OpenEXR back to ProRes might be best. Clearly some testing will be required. I actually like Color quite a bit from the testing I've done so I'd like to make it work.
Click to expand...

Why EXR? Which version of EXR?

EXR still requires some roundabout conversions to ProRes, seems easier to jsut go from the R3D.
 
My First Job with Color

My First Job with Color

hi,

i just finished a corporate film using FCP and COLOR. whilst working in color
was a pleasure - intuitive and fast - it turned out to be very painfull when trying
to reconform > simply crashed all the time. also going back to FCP didn't work, i had to reconnect each shot by hand (fortunatelly only about 50) because the XML included the original footage instead of the rendered one.

any tips on that?

then: i couldn't figure out by what criteria color decides to either render a an entire clip (lenght of the original footage clip) or only from in to out (without any handles at all)..???

i really would like to use color for my work - fits me perfect - but that first experience was very painfull in terms of roundtrip ability..

martin
 
I was grading a locked online cut, which I would see as the norm, so have not tried reconnecting to a conformed or modified edit. I had no problems sending rendered grades back to FCP. You can select handle size for Color renders in one of the settings panes (I forget which, and I am not in front of it right now).
 
Nick, that's great that you were able to do roundtrip without issue. Very promising.

Martin, which version of Color was it? 1.0.2? Some of the issues you mention sound like they may have gone away in that version. Can anyone else confirm whether they have moved a project back and forth, including reconforms?

Thanks guys!
Steve
 
I'm PC/Vegas/Cineform guy.
For a big project i've purchased MacPro with Kona card.
My project will utilize combination FCP-Color-FCP.
But after capture to ProResHQ through EDL's i can not reconnecting media in FCP...Ii've read on the web about this bug which Apple can not resolve a long time. I think Color have more bugs than FCP... I feel i have more headaches with fu***ng apple software.
 
Where does Color sit today as a viable final CC/grade program? Has it stabalized? Is it good to use in a FCP->Crimson->Redcine->Color workflow?
 
Shawn Nelson said:
Where does Color sit today as a viable final CC/grade program? Has it stabalized? Is it good to use in a FCP->Crimson->Redcine->Color workflow?
Click to expand...

I use Color in SD & HD Broadcast projects, and only because I've been using Final Touch since before 2.0. It works, but be prepared for a steep learning curve and bugs, to this day. It's stable enough for me to do work, but I know all it's issues in and out.

I also don't recommend using Color with interlaced projects unless you are an expert user.

As far as FCP->Crimson->RedCine->Color?

There's no reason it shouldn't work, but I wouldn't want to be there with a client in the room.
 
We've got SD da Vinci and Color. Our colorist seems fairly happy and we have the Crimson workflow here, running quite well! Biggest complaint with Color's toolset is noise/grain reduction. Yes it's there, and it sort of helps, but when compared to our hardware Digital Vision unit it's not very impressive.

Speaking of Color- Anyone hear more about the r3d plugin for Color that was shown at NAB? When is is coming, etc?
 
I saw it being demonstrated at NAB, but didn't hear any timeframe mentioned. I would guess it will be a little while as some more things get worked out with Build 16, REDCINE, etc.
 
New problem....

New problem....

Hi.

I have a FCP DPX sequence (gluetools based) which I have EDL'ed over to Color.

So far, so good.

It's a 1080 25fps sequence. timecode on the DPXs is right and the EDL imports just fine.

Then:
CC & render

To save some time I renedered first to AJA 4.4.4, (which gave the unwanted gammashift) then to prores (which craps, but keeps the gamma).

Major issue, though, is that when I go back to FCP (send to fcp) there lacks a frame @ the end of almost every clip. This is a 6 minutes high pace project, now close to 5:30...
Imagine doing audio sync.

Any hints?

Cheers!

Gunleik
 
I've done 3 commercials on Color, that initially was to be shot on 35 but we shot RED instead. I was as happy grading in Color as I've been with Scratch, Baselight or Lustre.

It's a great CC tool fully capable of grading in 2K. The problem is the import/ export with it and that it doesn't necessary always deliver realtime playback on 2K. It works, but it's a little buggy and needs some TLC.

But as a grading tool it's very professional (assuming the set up is top notch with grading monitors and tangent devices etc).

regards,


Fredrik
 
You must log in or register to reply here.
Back
Top