Experiment workflow - How to get rid of color bug -I hope

[HyderBilgrami]

Great will try in test shoots ...

 

[Matthew Rogers]

Any advice for this situation?

The editor, edited in FCP using the Proxies. He has at times 4 layers of video. Apple Color does not like this. Do I burn these into Pro Res 422 HQ? Wouldn't that create some inconsistency between working off the r3d's and prores for final output? What should I do, knowing that I need to burn in.

First, what exactly do you mean by burn in? Are you talking about hard printing timecode into the footage for editing? Or are you talking about hard printing footage to ProRes?

Since your going to Color, it must mean that your finished with the edit and are ready to color correct, right? If so, then just flatten your timeline before sending it to Color. It is important that you work off the R3D files than off ProRes files. It will make your footage less noisy.

Matthew

 

[Loren White]

by burn in I basically mean flatten.. and the way I was thinking of flattening was by taking the layered clip and exporting as prores, because you cant output r3d.

By flatten timeline do you mean nest? thats not a bad idea..

 

[Luca Immesi]

Flatten means take down all the proxies of the timeline in fcp in the first video line (V1), than go to file-export-EDL. With the last apple plugin color can read directly the r3d, you don't need to transcode them to prores. Import the EDL in color, make the color correction and export as prores hq or uncompressed ecc.

 

[Robert Horwell]

Humm, I can not get the EDL to work. I've tried exporting both M and H proxies with no luck. All I get in Color is the clip with a red x through it. Can't figure out how to get it to actually connect to the correct file.

Matthew

I am having same problem. When i point color to the original RD3 file to reconnect nothing happens.

 

[Luca Immesi]

I am having same problem. When I point color to the original RD3 file to reconnect nothing happens.

In source directory try to put only volumes, color will search on all your hard disks and it will find the r3d (it takes longer than pointing the exact volume).

 

[Ido Karilla]

Thanks Luca, your solution is perfect.

next step: render to redlog dpx out of color, is the half debyering good enough for film out?

 

[Robert Horwell]

top man, thanks Luca

 

[Luca Immesi]

Thanks Luca, your solution is perfect.

next step: render to redlog dpx out of color, is the half debyering good enough for film out?

DPX_COMPARISON
I don't know if this test has some value but you can download (4 Mb) a 1920x1080 TIFF extracted from two DPX (same frame) 4k 16:9 resized to 2k (2048x1152), redlog, no color correction applied.
Which is the one rendered out from color and the one rendered out from redcine?

 

[Ido Karilla]

DPX_COMPARISON
I don't know if this test as some value but you can download (4 Mb) a 1920x1080 TIFF extracted from two DPX (same frame) 4k 16:9 resized to 2k (2048x1152), redlog, no color correction applied.
Which is the one rendered out from color and the one rendered out from redcine?

Thanks for the quick test:

I would guess that the left one is the color rendered and the right is the redcine.

 

[Luca Immesi]

Yes, correct. But the one from color (left) for me is a little bit sharper.
Don't you think?

 

[Gunleik Groven]

Makes sense because of the half debayer...

 

[Luca Immesi]

Makes sense because of the half debayer...

But I rendered out from a color project 2048x1152 and redcine project 2048x1152.

 

[Charles Angus]

Is the Color version possibly sharpened slightly? Using an unsharp mask in PS CS4 on the right I see less difference...

 

[Luca Immesi]

Is the Color version possibly sharpened slightly? Using an unsharp mask in PS CS4 on the right I see less difference...

Yes, the color version is definitely sharper but I didn't apply any sharp filter.
It quite surprised me because I thought the output from redcine was better but it seems color outputs sharper dpx. Any thoughts?

 

[Joyfool]

Yes, the color version is definitely sharper but I didn't apply any sharp filter.
It quite surprised me because I thought the output from redcine was better but it seems color outputs sharper dpx. Any thoughts?

perhaps a chart test would be better to verify that.

 

[Luca Immesi]

perhaps a chart test would be better to verify that.

Yes a resolution chart should be better, but in the meanwhile take a look at this grab.
Look at the grass, the car, street lamp...
color on the left, redcine on the right.
http://www.esperimentocinema.com/wp-content/uploads/DPX_COMPARISON.tiff

 

[Gunleik Groven]

But I rendered out from a color project 2048x1152 and redcine project 2048x1152.

Half debayer = some sharpening.
And I think it looks kinda brutal from color, but won't judge it untill I see it on DCP...

It works the worst on lowlight shots, though.

 

[Luca Immesi]

Half debayer = some sharpening.
And I think it looks kinda brutal from color, but won't judge it untill I see it on DCP...

It works the worst on lowlight shots, though.

I see.
I've got a friend of mine who manage a cinema with a 2k digital projector.
If I can I'll try to make a test there using quvis wraptor.
But I think for a hd/sd works color workflow is great.

 

[Gunleik Groven]

I'll see it on Tuesday...