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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 :)

FilmConvert - Film Stock Emulation for Red Cameras

Matthieu Misiraca said:
Hi Nigel,

It 's possible to use the DNXHD codecs for the export ?

thank
Click to expand...


We have a version in test that uses the Quicktime dialog, so it will export anything your computer can. Some OS versions have trouble with this though. But we are working on it.
 
Alexandre Desjardins said:
Hi Nigel,

It seems that the best workflow would be to grade first taking advantages of the powerful RAW R3Ds and then, as a final step, apply the FilmConvert attributes to keep consistent the appearance of grain and emulated film characteristic?

Thanks!

Alexandre
Click to expand...

This is, for us, a completely game changer in terms of workflow pipeline. We basically use "0" for grain. You do not want to use it AFTER the grading, since this is what really Film Convert does for you. It applies a LUT to emulate a fim-stock, so you want to do it early in the process, so you do only balancing between shots and secondaries in Resolve since the Primary has been taking care of by Film Convert. This is very important to understand: it is an emulation LUT, so all primary grading , after process it through the plug-in, is basically done.

We which to have it for Resolve, but its structure does not allow us to use it as it is (at least pre Version 9).
 
Nigel,

Have you thought (except for grain), to generate "RMDs" out of filmconvert, so it can be applied to the R3D footage so we can use the R3Ds to perform the entire grading?
 
Just another question: Is there a way to set the in-out exporting point(s) used on every clip when an EDL/XML is used to import the files to be processed?
 
Luis Otero said:
This is, for us, a completely game changer in terms of workflow pipeline. We basically use "0" for grain. You do not want to use it AFTER the grading, since this is what really Film Convert does for you. It applies a LUT to emulate a fim-stock, so you want to do it early in the process, so you do only balancing between shots and secondaries in Resolve since the Primary has been taking care of by Film Convert. This is very important to understand: it is an emulation LUT, so all primary grading , after process it through the plug-in, is basically done.

We which to have it for Resolve, but its structure does not allow us to use it as it is (at least pre Version 9).
Click to expand...

I am currently finishing editing a short film shot in Scarlet, which I will eventually output to DCP for festival release. My workflow is Premiere CS6 and Davinci Resolve. I have played around with Filmconvert and really dig it. However, I am not sure how to integrate it into my current workflow pipeline. I would love to use both the plugin's film stock presets as well as the grain, but as Luis mentions, it only makes sense to use it at the beginning of the workflow, before getting into secondary color grading. My problem with this option is that I would have to sacrifice working in RAW in Resolve.

Nigel, do you plan to have a standalone application for Windows? Thanks and congratulations.

Saludos,
TD Wood
 
TD,

After reading your message, and a lot of thoughts put into the potential Resolve pipeline, in my mind it all comes back to the ability of FilmConvert to write an RMD for the files after playing with it within it, so that it can be loaded by Resolve, so it already will contain the desired LUT and its modifications needed to attain the desired primary color correction look.

Then, if the footage is intended for film-out, a simple Lin-to-Log LUT should be inserted, and it should be ready to go to the printer. If for DCP, an RGB-to-XYZ LUT is used, and it should be ready for a DCP encoding.

Am I missing something?
 
TD Wood said:
I am currently finishing editing a short film shot in Scarlet, which I will eventually output to DCP for festival release. My workflow is Premiere CS6 and Davinci Resolve. I have played around with Filmconvert and really dig it. However, I am not sure how to integrate it into my current workflow pipeline. I would love to use both the plugin's film stock presets as well as the grain, but as Luis mentions, it only makes sense to use it at the beginning of the workflow, before getting into secondary color grading. My problem with this option is that I would have to sacrifice working in RAW in Resolve.

Nigel, do you plan to have a standalone application for Windows? Thanks and congratulations.

Saludos,
TD Wood
Click to expand...

Hey TD,

Edit: Apparently After Effects plugins work in Premiere, so it's now possible to use FilmConvert in a Premiere timeline :)

Windows version is a big job - we're going to see what people think of the mac version and how it sells vs the plugins before we make a decision on it. We have built a prototype version that processes files on the GPU in windows, but the bulk of the work is making the windows GUI.

I will keep everyone posted on developments!
 
Luis Otero said:
TD,

After reading your message, and a lot of thoughts put into the potential Resolve pipeline, in my mind it all comes back to the ability of FilmConvert to write an RMD for the files after playing with it within it, so that it can be loaded by Resolve, so it already will contain the desired LUT and its modifications needed to attain the desired primary color correction look.

Then, if the footage is intended for film-out, a simple Lin-to-Log LUT should be inserted, and it should be ready to go to the printer. If for DCP, an RGB-to-XYZ LUT is used, and it should be ready for a DCP encoding.

Am I missing something?
Click to expand...
I wonder if that can actually be done (to have FilmConvert work with RMDs)... but it sounds like the perfect workflow option.
 
Nigel Stanford said:
Hey TD,

Edit: Apparently After Effects plugins work in Premiere, so it's now possible to use FilmConvert in a Premiere timeline :)

Windows version is a big job - we're going to see what people think of the mac version and how it sells vs the plugins before we make a decision on it. We have built a prototype version that processes files on the GPU in windows, but the bulk of the work is making the windows GUI.

I will keep everyone posted on developments!
Click to expand...
I actually tested FilmConvert in both Premiere and AE (Windows) and was really impressed with the results.
Thanks for the input and congratulations again for developing this software.
Cheers,
TD Wood
 
The demo version of the pro app on my mac pro with snow leopard works only with r3d, it doesn't show quicktime files in the timeline. I purchased the plugin for FCPX for minor jobs when you want apply an overall look at the end and it works really, really well.
 
Luca Immesi said:
The demo version of the pro app on my mac pro with snow leopard works only with r3d, it doesn't show quicktime files in the timeline. I purchased the plugin for FCPX for minor jobs when you want apply an overall look at the end and it works really, really well.
Click to expand...

Hey luca, what kind of quicktime files? are you using xml to create a timeline? if so you can only choose to connect to r3d or quicktime footage from your xml, but not at the same time...
 
Nigel Stanford said:
We'll do our best!
Click to expand...

Hi NIgel,

I have downloaded and used FilmConvert. I must say I am very impressed not just with the looks but also with how well we can render out R3Ds to Prores (HQ) from my Laptop. One thing I think let's the program down a bit is that you don't have that many 35mm film stocks to choose from, by this I mean actual 35mm movie stock. Is this something you hope to address in the near future? I read here you are thinking of improving the controls by adding more options which would be great, but the advantage of having a greater choice of actual film stocks would help us to have a more solid starting point to our grading. It is probably the sole factor holding me back from buying it at the moment.

Thanks
Antonio
 
Luca Immesi said:
The demo version of the pro app on my mac pro with snow leopard works only with r3d, it doesn't show quicktime files in the timeline. I purchased the plugin for FCPX for minor jobs when you want apply an overall look at the end and it works really, really well.
Click to expand...
Same here..., but I have the purchased version!!! The standalone Pro version shows the QT at the first tab, but shows the FC logo at the second tab for all MOVs.
 
Luis Otero said:
Same here..., but I have the purchased version!!! The standalone Pro version shows the QT at the first tab, but shows the FC logo at the second tab for all MOVs.
Click to expand...

Hi Luis,

That doesn't sound good at all. Your .mov files should work fine.
Are you using the latest version?

I'll send you an email. Hopefully we can get to the bottom of this.

Cheers
Craig.
 
Luis Otero said:
Same here..., but I have the purchased version!!! The standalone Pro version shows the QT at the first tab, but shows the FC logo at the second tab for all MOVs.
Click to expand...
Exactly my same problem.
 
Nigel Stanford said:
Hey luca, what kind of quicktime files? are you using xml to create a timeline? if so you can only choose to connect to r3d or quicktime footage from your xml, but not at the same time...
Click to expand...
Hi Nigel, I have the same problem of Louis.: The standalone Pro version shows the QT at the first tab, but shows the FC logo at the second tab for all MOVs.
 
Luca Immesi said:
Hi Nigel, I have the same problem of Louis.: The standalone Pro version shows the QT at the first tab, but shows the FC logo at the second tab for all MOVs.
Click to expand...

Are you using XML to create a timeline? Can you email craig@filmconvert.com and let him know exactly what you're doing? Thanks!
 
This happens to me too, if I try to return to a previous screen, every time.

I have to force quit the program and start again.
 
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