Conforming Final Cut timeline for Color (workflow MADNESS!)
by Kristoffer Newsom
on
Jul 11, 2008 at 7:39:20 pm
Hi all, I've got a doozie of a workflow issue here, hopefully someone can offer a good piece of advice, it'd be a huuuge help!
What I've got going on is this - working on a 3D animated TV show, the producers decided they wanted to be able to color correct the characters, environments, and props all separately, prior to final color correction. We tried doing this in color, but color is unable to import mattes, so that option was out. What we had to do was layer our shots with B&W mattes in FCP, using composite mode -> Luma travel matte, and CC each layer using the 3-way CC, which has been working fantastically. Now, we need to send the projects to Color for a final pass prior to sending off our master. (I know this is NOT an ideal workflow, believe me, it was simply the only way to do what they needed to be done at this point)
The thing is, I need to send the entire composite image into color, not the multiple tracks. I'd like to do this without bouncing each shot, scene or the entire episode individually, unless there's an automated way to do so. (it'd be nice to be able to correct any small shot-to-shot difference if possible afterwards, though the differences should be minor, if any exist at all). The most important is scene-to-scene CC. Is there a command to conform down each edit, merging all the layers into a single clip and in effect bouncing all layers?
Re: Conforming Final Cut timeline for Color (workflow MADNESS!) by Aaron Neitz on Jul 11, 2008 at 8:02:29 pm
Sure. Just export a self-contained quicktime of your entire piece. Bring it back in, overlay it on the edited timeline, and snap to your edits and hit control-V to add edits to your quicktime.
clear out everything but the now notched quicktime then you can send that over to color.
Re: Conforming Final Cut timeline for Color (workflow MADNESS!) by Kristoffer Newsom on Jul 11, 2008 at 9:01:02 pm
that's a great idea! I'll have to do multiple exports to get enough frames on either side of a fade or wipe transition, but there aren't that many of those in each episode (just two or maybe three).
Totally simple solution, I was WAYYY over thinking this.
