How to color correct FX shots...?

[Jonathan Bregel]

Hey I posted a thread a little under a week ago asking about the best workflow for a music video. I decided to go the route of transcoding to ProRes(has made editing flow very nicely) but now we have run into a bit of a problem.

We want to reconnect to the r3d files now so we can color correct but the problem is we have a lot of sped up clips due to a good number of ramping shots. I was told color will not deal with speed effected clips so I would basically have to burn them in via exporting. But wouldn't this not allow me to reconnect the files back to the r3ds?

My question is, is there ANY way to still color correct(using the native files) the clips that have been sped up? I tried using the Crimson workflow and found out that apparently Crimson/red cine doesn't like sped up clips either.

Any advice would be greatly appreciated. If it would be easier for you explain over the phone I would be glad to pm any of you my number. Thanks so much!

 

[Uli Plank]

No chance with FCS (yet?). If you desperately want to do that with native clips, use After Effects 9.0.1 and it's grading app Color Finesse.

 

[M Most]

My question is, is there ANY way to still color correct(using the native files) the clips that have been sped up? I tried using the Crimson workflow and found out that apparently Crimson/red cine doesn't like sped up clips either.

Well, one way is to make a separate timeline of all the sped up shots without the speed change. Use the timecode to determine the earliest frame you're using and the latest frame that you're using. Color correct the "normal speed", all inclusive clip, then speed up the result.

 

[Jonathan Bregel]

Well, one way is to make a separate timeline of all the sped up shots without the speed change. Use the timecode to determine the earliest frame you're using and the latest frame that you're using. Color correct the "normal speed", all inclusive clip, then speed up the result.

Hmmm ok sounds like that's what we are going to have to do, although that's gonna take a while.

What makes it so difficult is that we shot a whole performance take at 100fps and then sped it up to normal speed so that we could ramp it at any given point. Now, for every spot we used a portion of that take, we are going to have to pull it from the original timeline.

 

[Uli Plank]

Why don't you grade it as 100 fps? Conform with CT and give it a try, it might work.

 

[Jonathan Bregel]

Why don't you grade it as 100 fps? Conform with CT and give it a try, it might work.

What's CT?

 

[Gary]

cinema tools

 

[M Most]

Hmmm ok sounds like that's what we are going to have to do, although that's gonna take a while.

And the problem with that is....??

What makes it so difficult is that we shot a whole performance take at 100fps and then sped it up to normal speed so that we could ramp it at any given point. Now, for every spot we used a portion of that take, we are going to have to pull it from the original timeline.

Well, yes. That's exactly what every facility that does DI conforming has to do on any project that uses these sort of techniques.

 

[Jonathan Bregel]

And the problem with that is....??

The only problem is time, but that's what has to happen at this point.
I appreciate the advice though, you definitely helped out alot!
Again I don't consider myself an editor, and didn't edit this project, I was just helping solve the problem for our editor.

Well, yes. That's exactly what every facility that does DI conforming has to do on any project that uses these sort of techniques.

Yeah I figured there was a similar process but I've never had to do it up until this point so I was unaware. The editor just finished pulling out all the sped up clips and fx shots and we are about to bring our xml from crimson into RedCine.

I will post if we run into any problems. Thanks again guys for all the help!