Workflow success!

[Luca Immesi]

I can say now our post-production workflow (FCP proxies - Crimson - Redcine - Dpx) works really well both on macbook pro with tiger and on 8 core mac pro with leopard. Both systems run quicktime 7.4.5.

 

[Christian Berg]

Nice to hear! Congrats!
What graphic card are you using in the Mac Pro?

 

[Steve Sherrick]

What are you using for RAIDs? DPX can be pretty heavy lifting for drives. Are you using Glue Tools?

 

[I Bloom]

Awesome, I'm happy to here this.

IBloom

 

[Luca Immesi]

We used intenal disks on both systems and I think standard graphic cards. We didn't use Glue tools although I think it's a great tool. On the macbook pro I edited a a promo of 1 minutes and I converted everything to dpx imported on after effects. On mac pro a post facility that I built up the post workflow edited a gucci commercial of two minutes converted to dpx and imported on shake. I think for commercials and short material you can use a pretty standard computer. I believe the delivery format will be standard dvd but it's much better working with dpx at a certain point of the process because you can get the best from dpx files. Crimson is the key.

 

[Patrick Tresch]

Did you have any RAID card and SAS drives or regular Serial ATA Drives? Could you give us your exact Mac Pro config?

I think, I'll have to buy Crimson !!!!

Thanks Experiment.

Pat

 

[Antoine Baumann]

Pat,

If you use after effects or shake for finishing/grading, then you don't absolutely need fast raid array, even with dpx, as you cache in the ram before playing anyway. In shake it's called a "flipbook". And these two softwares don't use gpu for processing.
As experiment said: "I think for commercials and short material you can use a pretty standard computer"
But a solid raid array and grade on apple color might be more suitable for a short movie.

ciao,
antoine.

 

[Luca Immesi]

Thanks Antoine, this is exactly what I mean.
Ciao.
Luca

http://www.esperimentocinema.com

 

[Jeff Brown]

Any chance of a step by step?

Any chance of a step by step?

Hi Luca,

I'm looking at doing the same workflow and was wondering if the following is how you are doing it:

1.Import and edit with proxies.
2. do Crimson xml conform to Redcine pull list and render out DPX sequences.

(And this is where I get stuck) Do you then go back to FCP and do send to color and then just relink your media to the dpxs or do you open the fcp xml in clor that you used for crimson and relink?

When you've graded do you then send back to fcp for final titling etc and is so if you are not using glue tools are you going back as prores etc (rendered from color)?

It's mainly the fcp-coor roundtrip that I'm finding confusing.

Any tips greatly appreciated!


Regards

Jeff Brown
RED708

 

[Emmanuel Cambier]

Hi Luca,

I'm looking at doing the same workflow and was wondering if the following is how you are doing it:

1.Import and edit with proxies.
2. do Crimson xml conform to Redcine pull list and render out DPX sequences.

(And this is where I get stuck) Do you then go back to FCP and do send to color and then just relink your media to the dpxs or do you open the fcp xml in clor that you used for crimson and relink?

When you've graded do you then send back to fcp for final titling etc and is so if you are not using glue tools are you going back as prores etc (rendered from color)?

It's mainly the fcp-coor roundtrip that I'm finding confusing.

Any tips greatly appreciated!


Regards

Jeff Brown
RED708

Same question here, I just don't know what to do with my DPX exported from Redcine.
I would like to color grade them in Color and then still be able to get it back in FCP for titles and speed effects and music…

Emmanuel

 

[I Bloom]

One thing I can say is you can export one way and roundtrip another way. So you could export DPX's put them into an AJA wrapper, and then roundtrip to FCP tricking Crimson into roundtripping quicktimes it didn't create. I'd love to automate something like this, and I will before I reach 1.0. But your input as to the best way to do it. Is extremely helpful.

IBloom

 

[Alex Carr]

If you take an XML from Crimson to Color before FCP it loses connection with Media, so you have to use Crimson to find all the media after REDCINE, then roundtrip it to FCP and do anything else you would like from there (w/ AJA DPX wrappers).

 

[Antoine Baumann]

can't you import an edl in Apple color?

if yes then export the edl from fcp and import it in color and link to the dpx rendered from redcine.

if not, well, workaround...

antoine.

 

[I Bloom]

can't you import an edl in Apple color?

if yes then export the edl from fcp and import it in color and link to the dpx rendered from redcine.

if not, well, workaround...

antoine.

Good theory, have you done it successfully?

IBloom

 

[BASSAM MSSALATIE]

Great to hear that .thanks:calm:

 

[Antoine Baumann]

not with color.

BTW: Ian did you remove the additionnal dpx frame that was rendered out of redcine?

thanks,
antoine.

 

[M Most]

Good theory, have you done it successfully?

IBloom

Numerous times.

 

[Jonas Nyström]

can't you import an edl in Apple color?

if yes then export the edl from fcp and import it in color and link to the dpx rendered from redcine.

if not, well, workaround...

antoine.

It sounds to me like doing the job twice. First render in RedCine. Then grade in color, and render once more. One extra generation, or...

 

[Jonas Nyström]

Numerous times.

Could you share how you are doing it?

 

[M Most]

Could you share how you are doing it?

While you're still in FCP, generate the XML for Crimson. Also generate an EDL of the same sequence and put it somewhere that you can easily find it. Use Crimson to generate proxies and an XML for Redcine. Do the usual steps to get everything loaded properly in Redcine. When you render in Redcine, make sure you use the proper file naming convention - that would mean separate folders, input file names, and input file numbers. This creates a series of folders (one per clip) under a master folder (where you point to for the render), each clip being named using the original R3d file name + a number representing the time code. It doesn't matter what you call the folders (the default is "EVENT_X"). Once the files are generated, open Color. Use the project dialog to navigate to the EDL you saved from FCP. An EDL Import Settings dialog will open. Set the frame rates to whatever they're supposed to be (probably 24), the project resolution to whatever your rendered DPX files are, and the Source Directory to the master folder in which all of your DPX folders and files live. If things go right, Color will open up, load the EDL into the timeline, and load each of the file sequences into their proper place. The rest is up to you.

That's all there is to it.