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  • 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 :)

FCP to APPLE COLOR CONFORM - STEP BY STEP

David Battistella

David Battistella

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Hi all,

Wanted to report a solved problem here. Thanks Very Much to Wade Macdonald who helped me solve this issue.

Some of you may know that I have been reporting a problem with garbage renders from FCP.

For the benefit of the world I am reporting my workflow here to help anyone else who runs into this.


1. Edited in FCP with transcode OFFLINE media created with clipfinder (or redrushes)
2. Export XML file of FINAL FCP SEQUENCE
3. Open Clipfinder and ran CONFORM FCP PROJECT with XML file to create NEW file.

IT IS VERY IMPORTANT NOT to rely on the RESIZE the SEQUENCES to 1920x1080 in clipfinder.

4. Opened NEW XML in FCP and set the sequence by hiting apple key "0" to the following. CUSTOM 2048x1024, 23.98, etc
5. used SEND TO COLOR command to open sequence in COLOR
6. CHANGE floating point to 10-bit in COLOR
7. Change EXPORT size of FINAL project in USER settings (it is very important to do this set within COLOR or it will not work!)

(DOWNLOAD LATEST VERSION OF BETA CLIP FINDER)

8. Close Color project
9. Open Clipfinder
10 In the tools menu run the Color Project through "FIX LOOPING BUG IN COLOR PROJECT"
11. Reopen in Apple Color and proceed.

You now have FULL access to the R3D files and can use the RED TAB in Color and render out great Prores 4444 or Uncompressed without any problems.


MORE INFO AT THIS LINK AS WELL

http://reduser.net/forum/showthread.php?t=40628


David
__________________
Peace
 
Why is it important to change from Floating Point to 10bit? Don't you want Color to work at its greatest bit depth until final render?

STeve
 
This is according to RED's FCS white paper. If you render in anything other than 10-bit you risk getting garbled green and pink renders.
 
I'm thinking it kind of defeats rendering out to ProRes 4444 at 12 bits. I have had all kinds of weird bugs, but pink and green renders I have not seen.

Good to know if it ever happens.

STeve
 
...And 10bit / 12bit internal color options are not available when using an nVidia GPU. So some of us have to leave it on Floating Point.

These days, with the Final Cut plugin not supporting 4.5K and being two generations behind in Color Science. Not to mention, no support for the RED Rocket. I'm doing a one-light and transcode to 4K ProRes 4444 out of REDCINE-X. then I go straight to Final Cut with the ProRes files. For longer projects, I'll also render out 2K proxy ProRes files (2K, proxy, hehe) and cut with those to boost performance. Then replace the clips with the 4K ones later for finishing through Color.
 
thanks for this. works like a charm.

i was still using crimson to conform until today... i guess that's what happens when i'm not reading the forums as often as i used to.


thanks again-
 
David, can you detail what is your preferred transcode format in step 1?
 
Ian,
I'm not David, but I figured I'd throw my $.02 in. I personally use Clipfinder to rip off my editing proxies, due to its ability to copy looks back and forth between clips. So I can set my "edit prep" look (Usually just an ISO boost/basic WB correction) on one shot, copy it to the rest of the shots in the scene, then repeat as needed.

Clipfinder also has a very basic distributed rendering hack built in, so I can use my spare computers to help render.
 
FCP to Color Conform Alt. workflow

FCP to Color Conform Alt. workflow

I'm going an alt. route here but figured it's still a FCP to Color workflow so it my fly in this thread.

Here's my workflow

Offline in ProRres QT rendered out using Red Rushes
From FCP im exporting and EDL (abiding by all the rules)
Then create a cinema tools database pointing to all my R3D files
Open color and load EDL, Cinema Tools database
I now have my first 20 min reel in the Color timeline and have access to the RED Tab. Awesome.

Ths issue is with several spanned R3D files. These clips are showing up in Color as offline. I've ran the ColorFixer utility and it seems to not fix the issue. Not sure if this a "Looping Bug" problem or not.

Thank you for any info on this.

Best,

Jeremy H
 
Why simply not to work with transcoded pro-res, export an edl out from fcp and the assign the red directory as source when conforming the edl in color? It works as well...
 
Issue with using clipfinder to generate xml across multiple directories

Issue with using clipfinder to generate xml across multiple directories

we are grading a feature shot on RED having used FCP log and transfer to generate pro res QTs to edit with. the original R3d files are spread across several external drives. when we tell clipfinder which directory to look for the R3d files we are only able to tell it to look in one directory at a time. so we end up with an xml reel that has a mix of R3d files and non-relinked pro res files. is there a workaround for this?
 
If you're using the Clipfinder 2.2b7, you can add multiple footage sources. Just keep clicking the + on the source window, and it will let you keep adding.
 
cornolio said:
Hi all,

I'm new in RED ONE-FCP workflow and trying to do following: I finished my cut with Apple ProRes4444 proxy and some DVCProHD shots mixed in and now want to replace my proxies with R3D files, while leaving DVCProHD original. I have clipfinder 2.2, run conform on FCP xml file with replace clips with H proxy on, because I need 2K resolution, and it replaces only first shots with R3D files, others stay prores. What could be wrong?

Thank's
Click to expand...


This is a real names forum. I will answer this question when you have registered with your real name.

Thanks,
David
 
Lorenzo Colugnati said:
Why simply not to work with transcoded pro-res, export an edl out from fcp and the assign the red directory as source when conforming the edl in color? It works as well...
Click to expand...

Yes,

There are many ways to skin a cat. This thread was in response to many first timers who have never done the workflow before.

Thanks Lorenzo for adding to the ways it can be accomplished.


David
 
Sorry, for the fake real name, somehow I didn't see that requirement.

The question again:

I'm new in RED ONE-FCP workflow and trying to do following: I finished my cut with Apple ProRes4444 proxy and some DVCProHD shots mixed in and now want to replace my proxies with R3D files, while leaving DVCProHD original. I have clipfinder 2.2, run conform on FCP xml file with replace clips with H proxy on, because I need 2K resolution, and it replaces only first shots with R3D files, others stay prores. What could be wrong?
 
WELCOME TO REDUSER!

Maybe try the following.

Create a new duplicate sequence.

Place all of the files you want to relink on a different video track.

Delete anything that is not the prores files.

Export that XML sequence.

After you open it in COLOR you need to close color and use Clipfinder to RUN the COLOR LOOPING BUG FIX utility.

Then reopn in Color and everything should be fine.

Also make sure you are pointing all of the correct directories to Clifinder. It only searchs for R3D where you tell it too.

also, it does not matter which proxies you choose because in COlor you have access to the FULL R3D Data stream.

David
 
I was lucky and everything works fine now. Thank's. One more question. After importing XML with real R3D files, sequence compressor is ProRes. When I make redcode, can't render sequence.
 
You should never make an FCP sequence REDCODE. Select either Apple Prores 4444 or 10 bit uncompressed.

REDCODE is not intended for use in FCP sequences.
 
General comment/question:

Why is people going through the unnecessary transcoding step/process instead of using low-res proxies to cut the project? Without trying to be offensive to anyone, all current experts (within and out of the RED team) have posted their opinion that transcoding is "old-school".

Let me explain my rationale: I never have used that route since in my experience the "extra" computer processing time is way less than the time spent on transcoding, and conforming after completed the project. Let alone the convoluted workflow and logistic that this brings with it, such as using other software (Clipfinder, etc.).

I would like to hear constructive opinions on this matter so I can understand why using such route is still the preferred way to go by some colleagues of this community.

Thanks,
 
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