Conforming Question

[Brandon Fraley]

Ok, so I'm cutting a short using 1k proxies and I want to conform to 1080p. I've been aware that when I send a timeline cut with proxies to Color, that Color can automatically refer back tot he r3ds and spit out a 2k version, but the problem is that my cut has a lot of dissolves and time remaps, which I know Color doesn't like.

In the tutorial I was watching, they say to render those retimed clips as quicktimes and replace the original clips, but then the clips would no longer be the proxy clips and Color wouldn't reference the r3ds, right?

Any suggestions on how to get my retimed, dissolved movie back to HD?

THANKS!

 

[David Fairbanks]

The only way I know of is to remove the speed changes and transitions, color correct and render you final footage and reassemble you edit.

This is what I had to do when going from FCP to RedCine on a recent project (with or without Crimson).

 

[Brandon Fraley]

The only way I know of is to remove the speed changes and transitions, color correct and render you final footage and reassemble you edit.

This is what I had to do when going from FCP to RedCine on a recent project (with or without Crimson).

fuck, that's more work than I wanted to deal with, but it makes sense. Thanks man

 

[Uli Plank]

Give Color 1.5 a try, it handles many things much better than previous versions.

 

[Zakaree Sandberg]

btw.. just ran myself a test with color 1.5..
20 second clip took 50 min to render to 4444 quicktime.
wtf!

btw.. macbook pro 17'' 2.4 ghz, 2 gig ram

 

[Brandon Fraley]

btw.. just ran myself a test with color 1.5..
20 second clip took 50 min to render to 4444 quicktime.
wtf!

btw.. macbook pro 17'' 2.4 ghz, 2 gig ram

um, what? something must have been wrong.

 

[Nick Shaw]

Was that a 4k ProRes4444 QuickTime? 4k might slow things down just in terms of time to compress and write to disk. Going to 1080p even with 4k de-Bayer is significantly faster than that on my 2.8GHz MacBook Pro. I Haven't installed FCS3 on my 8-core yet, so can't speak for that, but it would obviously be a lot faster.

 

[Steve MacMillan]

The only way I know of is to remove the speed changes and transitions, color correct and render you final footage and reassemble you edit.

This is what I had to do when going from FCP to RedCine on a recent project (with or without Crimson).

True. The problem is that cutting and pasting variable speed ramps from one clip (your original offline) to another (the colored render) will often not match perfectly and sometimes is way off. BTW, speed changes look so much better with pixel estimation in After Affects (or Twixtor) than the frame blended crap from Final Cut.

Transitions should be OK to leave on. Color will ignore and roundtrip with handles for the transition. The things that need removing (with Color 1.04) are Speed changes and reversals, freeze frames, multi-clips, nested clips, clips with smoothcam applied, the 3way color corrector, and some plug-ins like shake and earthquake.

Color 1.04 (1.5?) has a bug rendering R3Ds, where Color render handles are added only to the end of the clip and the clip gets pushed out of sync by the length of the front handle. So lock your sequence and render without extra handles.

I'm still waiting for bug fixes in order to use Color 1.5. The round tripping is broken.

 

[Luca Immesi]

btw.. just ran myself a test with color 1.5..
20 second clip took 50 min to render to 4444 quicktime.
wtf!

btw.. macbook pro 17'' 2.4 ghz, 2 gig ram

Did you use the proxy resolution settings in Color?
For me roudtrip works as long as you remove all the effects prior to send to Color.
Accordind to Color 1.5 manual: Note: It's not generally a good idea to allow various filters that perform color correction to remain in your Final Cut Pro project when you send it to Color. Even though they have no effect as you work in Color, their sudden reappearance when the project is sent back to Final Cut Pro may produce unexpected results.

 

[Blair S. Paulsen]

I suggest you create a second version of your FCP timeline specifically to send to Color. Include generous handles on any clip that is not regular speed with straight cuts on both ends. After grading open any clips with time remapping, dissolves, etc in After Effects (or Shake, etc) and render those properly - I concur that FCP is a lousy app for slo-mo and some other effects.

Why dissolves in an outboard program? You can take your rendered with handles clips and do the dissolves in FCP and plain vanilla dissolves should render out in 10 bit space but I have gotten a bit paranoid as FCP will render some transitions in 8 bits without warning. YMMV.

Yes, this methodology is a PITA. Not to be an elitist jerk, but if you want to do high end work in a desktop environment there are compromises - many operations are slower and workarounds may be necessary. Just sayin'

Cheers- #19

 

[Brandon Fraley]

thanks for the help, guys. Just to be clear, all my time remaps are simple frame doubling or dividing, very few "blended" clips. I don't have after effects, but I'm sure it's advanced retiming techonology isn't necessary here.

Also, going to color isn't specifically my goal. I'm trying to get a 1080p version of my 1k project and assumed sending to color was the simplest way to do that. if there's a better way, please let me know.

 

[Mark Linthicum]

There are many ways to handle this,

One I know will work, Render all footage using RED Rushes to 1080, save to a separate Hard Drive, Use a renaming application to change all the new rendered files names to add the _M (if you used the Med proxies) Take the original files offline, tell FCP to reconnect and look only at the new Hard Drive then reconnect. Make a new seq set to 1080, copy your Timeline paste it into the new seq, Set the first clip to 100% so it fits the seq, Copy that first clip you made fit correctly and past Attributes to all the rest of the clips. You will have your 1080 movie in ProRes ready for anything you want to do.

Mark

 

[Brandon Fraley]

There are many ways to handle this,

One I know will work, Render all footage using RED Rushes to 1080, save a separate Hard Drive, Use a renaming application to change all the new rendered files names to add the _M (if you used the Med proxies) Take the original files offline, tell FCP to reconnect and look only at the new Hard Drive then reconnect. Make a new seq set to 1080, copy your Timeline paste it into the new seq, Set the first clip to 100% so it fits the seq, Copy that clip you made fit correctly and past Attributes to all the rest of the clips. You will have your 1080 in ProRes ready for anything you want to do.

Mark

very simple. Not perfect, but it may suite my needs. Thanks man.