DPX export out of Color

[Kyle Watson]

so I have a project that we shot on the red camera. here is the workflow I ended up using due proxies not created for some clips.

In FCP->L&T chose "shot as" and imported "native" red->pictured locked my sequence.

There are some clips that have vsfx elements in them and my vsfx team is requesting dpx files. So what is the proper steps to go from here? Thanks for your input people.

 

[Art_Jaguar]

I think you have to send your sequence to Color and you can make DPX from there.

 

[Ben Brainerd]

It really depends on where in the post pipeline your VFX is happening. If there's some flex, you can send the whole project to color, do your grade and send graded DPXs to the VFX dept. Otherwise...

VFX is where the RAW pipeline breaks down. Most FX programs can *READ* RAW, but as it's read-only, the deliverables are going to cause some hassles.

My experience is that if you've got a fair number of VFX shots, you're better off doing a burn-in of a one-light correction fairly early. Edit, render *EVERYTHING* out of RC-X/Clipfinder as ProRes, DPX, EXR, whatever, send the relevant shots to VFX and grade the whole project in your chosen format.

 

[Kyle Watson]

Brian,

Thanks for the input and the advice. Most of the software, if not all, that the vsfx dept. will be using can read the raw native file. What kind of hassles have you experienced or seen in the past from the workflow?

Here is the problem I'm getting stumped at: when I bring the picture lock sequence from FCP to Color what is the proper steps in exporting dpx files out of color?