Question about R3D, FCP, Coremelt, Crimson, Redcine.

[Luis Ortiz]

Sorry if this is a stupid question, but all this stuff can get confusing.

My understanding is that FCP transitions are 8 bit and Coremelt transitions are 10 and 12 bit.

If I wanted to finish in 4K using a DPX from RC, how do I ensure that the 10 bit transitions I added in FCP are included in the final DPX?

Do I have to use another software to transfer the Coremelt transitions into the DPX?

Do I even make any sense. I'm probably doing a poor job explaining myself.

 

[Steve Sherrick]

Where are you finishing in 4K?

If you are finishing in FCP, yes the Coremelt transitions are 10 bit. Here's a good workflow paper.

http://www.coremelt.com/support/workflow/red-camera-10-bit-color-online-workflow-with-fcp-6.0.2.html

 

[Luis Ortiz]

The link was very helpful, thank you, but I'm still not clear on one thing.

Using FCP & Color, the highest resolution I can output is 2K, correct? If a distributor wanted the project in 4K for a film out, and they were using Scratch, then they would use the R3D files to have a CC performed at the 4K resolution before they scanned to film. If that were the case, what format do the Coremelt transitions carry over as? The Coremelt transitions are never (4K) R3D files.

 

[Craig Parkes]

If you are doing a fresh online and intermediate in 4K in Scratch to prep for film out isn't it likely you would be redoing all the transitions anyway, especially if you had already got distribution (as it would be on the distributors dime one would imagine, if they were caring that much about the presentation quality)?

 

[Luis Ortiz]

If you are doing a fresh online and intermediate in 4K in Scratch to prep for film out isn't it likely you would be redoing all the transitions anyway, especially if you had already got distribution (as it would be on the distributors dime one would imagine, if they were caring that much about the presentation quality)?

O.k. Optical House. I get it.

 

[John Tissavary]

No opticals necessary. You're in digital already, and there's no advantage to optical printing transitions (unless spending more money is an advantage).

The FCP > Scratch process in a nutshell:

Offline edit at whatever resolution you care to, using camera proxies. Transitions & speed changes will carry over to Scratch, but no other effects like speed ramps, color corrections, etc... so keep it simple.

When picture is locked, export a CMX3600 EDL, everything on one layer, no audio.

Import EDL into Scratch, assemble, and bingo you're ready to grade.

Don't be concerned with FCP image quality, resolution, bit depth, etc... , since you're only using FCP to generate an EDL. No images from FCP are actually going to be used in the final conform unless you render them, then place them on the FCP timeline prior to generating the EDL destined for Scratch.


cheers,

John T.

 

[Luis Ortiz]

No opticals necessary. You're in digital already, and there's no advantage to optical printing transitions (unless spending more money is an advantage).

The FCP > Scratch process in a nutshell:

Offline edit at whatever resolution you care to, using camera proxies. Transitions & speed changes will carry over to Scratch, but no other effects like speed ramps, color corrections, etc... so keep it simple.

When picture is locked, export a CMX3600 EDL, everything on one layer, no audio.

Import EDL into Scratch, assemble, and bingo you're ready to grade.

Don't be concerned with FCP image quality, resolution, bit depth, etc... , since you're only using FCP to generate an EDL. No images from FCP are actually going to be used in the final conform unless you render them, then place them on the FCP timeline prior to generating the EDL destined for Scratch.


cheers,

John T.

Thank you.